tag:blogger.com,1999:blog-85098250181397585362024-03-08T12:24:16.869-08:00Lady Eve's Reel LifeThe Lady Evehttp://www.blogger.com/profile/11963115499930520653noreply@blogger.comBlogger306125tag:blogger.com,1999:blog-8509825018139758536.post-32084626015446828822023-05-14T20:00:00.267-07:002023-07-05T12:38:41.614-07:00LEE REMICK AND THE DAWN OF THE MINI-SERIES<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXuguDao2HQG2vbcVepQVrg4emCL7X4Sq9xV53HeRqTjWGT2SHL5slx6urCU8yZPWtPiqmrL1-E_I2YTxt3-7oHb4B8iVI5fEKdqh-8T5rUsCuCtJ1ckKhqei76BAG-gbSu2sUwNGMdfSABYE39o5eRKHdh0h3q3Xy_DLenQR3sx9gq5PoPyljx4iW/s960/IMG_0758.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="960" data-original-width="960" height="448" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXuguDao2HQG2vbcVepQVrg4emCL7X4Sq9xV53HeRqTjWGT2SHL5slx6urCU8yZPWtPiqmrL1-E_I2YTxt3-7oHb4B8iVI5fEKdqh-8T5rUsCuCtJ1ckKhqei76BAG-gbSu2sUwNGMdfSABYE39o5eRKHdh0h3q3Xy_DLenQR3sx9gq5PoPyljx4iW/w448-h448/IMG_0758.JPG" width="448" /></a></div><p class="MsoNormal"><span style="font-family: arial; font-size: medium;">A fresh-faced 21-year-old Lee Remick made her motion picture debut as a luscious baton-twirling high school drum majorette in Elia Kazan’s
1957 classic, <i>A Face in the Crowd</i>.<span>
</span>Remick’s seductive rendering of a precocious but empty-headed teenybopper who quickly becomes the bride of a lecherous drifter turned media celebrity (Andy Griffith) would launch her on the path to movie stardom.</span></p><p class="MsoNormal"><span style="font-family: arial; font-size: medium;"></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgzNskmz1XF-wsMwpI1lojpD6_jjMyNZdAKsb5FHlcZV40nnW6F2XVJ_TelIQAnaY90GAzqWJQ6m7hUhZlFewHJdGwf5noE6JhgXzCSPTihwG8tM7qCIj6Rpwmqexf0idXhX5NWXSyIfh9ZRPuwDRLsvj-I5lujXwZY8PmsyEMrCm2mgS6FYwxB9kLD/s1280/A%20Face%20in%20the%20Crowd.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="720" data-original-width="1280" height="230" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgzNskmz1XF-wsMwpI1lojpD6_jjMyNZdAKsb5FHlcZV40nnW6F2XVJ_TelIQAnaY90GAzqWJQ6m7hUhZlFewHJdGwf5noE6JhgXzCSPTihwG8tM7qCIj6Rpwmqexf0idXhX5NWXSyIfh9ZRPuwDRLsvj-I5lujXwZY8PmsyEMrCm2mgS6FYwxB9kLD/w408-h230/A%20Face%20in%20the%20Crowd.jpg" width="408" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-family: arial;"><span style="font-size: small;"><i>A Face in the Crowd </i>(1957)</span></span></td></tr></tbody></table><div class="separator" style="clear: both; text-align: center;"><span style="font-family: arial; font-size: medium;"></span></div><p><span style="font-family: arial; font-size: medium;"><span></span></span></p><span style="font-family: arial; font-size: medium;">Because this first film role so powerfully showcased her
sex appeal, she was cast in similar if only slightly more adult
roles in her next films. Co-starring with Orson Welles, Paul Newman and Joanne
Woodward, she portrayed Tony Franciosa’s flighty, flirty Southern belle wife in<i> The Long, Hot Summer </i>(1958). In <i>Anatomy of a Murder</i> (1959) she was a reckless tease married to soldier Ben Gazzara and central to the murder trial at which attorney James Stewart defended him.</span><p></p><p class="MsoNormal"></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhUqSFVuFJVGsRVW1j-nz07Gb2cnrGaZeDrK0ADgDs7GuNYLzY2Hb5pXvOqdpdmsQS7c8dlkEP6X7r7c7on975O5aF7Q017RDeQW3jpH8pfLWGN4tpD6DnpBsJ6HsWwF5fWLt-aoEQcAAzbGfFRvTRQIB9sYRDUfG8IxDKPqRkDCRvMxsudU184Xgr3/s235/IMG_1003.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="166" data-original-width="235" height="295" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhUqSFVuFJVGsRVW1j-nz07Gb2cnrGaZeDrK0ADgDs7GuNYLzY2Hb5pXvOqdpdmsQS7c8dlkEP6X7r7c7on975O5aF7Q017RDeQW3jpH8pfLWGN4tpD6DnpBsJ6HsWwF5fWLt-aoEQcAAzbGfFRvTRQIB9sYRDUfG8IxDKPqRkDCRvMxsudU184Xgr3/w417-h295/IMG_1003.jpg" width="417" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-family: arial;"><span style="font-size: small;"><i>Anatomy of a Murder</i> (1959)</span></span><br /></td></tr></tbody></table><br /><span style="font-family: arial; font-size: medium;">Lee Remick’s much-touted sensuality would prompt 20th Century Fox PR
to promote her as “the American Brigitte Bardot,” but the actress
resisted the label and rebelled against being typecast. The truth was that
Lee was more than a sexy “honey-haired beauty." She had been acting
seriously since her teens, studied at the Actors Studio, and before being
cast by Kazan in her first film she had already performed on Broadway and appeared many
times on most of the live drama anthologies of TV’s Golden Age. In fact, it
was one of her performances in a 1956 episode of <i>Robert Montgomery Presents</i>
that caught Elia Kazan’s attention when he was casting <i>A Face in the Crowd. <br /></i></span><p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2oOTBKzTpU57s7FxAIIqJBhLF_4ytVD_6UXY21oXAhaLHKUPPdBwCqOjb_g8GuQIEKGAbcHrIwIkTQApU6kl5rJ0LBMXHmW0zUPI6A-PDhHSzAbTvDoQWmViLVznUFPdzkl1s72U5GorHJjEeNWuYomaM_c04ZcATaUoErw6BV8HJgeX1tJGawXpL/s1033/Lee%20golden%20age%20TV.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="649" data-original-width="1033" height="271" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2oOTBKzTpU57s7FxAIIqJBhLF_4ytVD_6UXY21oXAhaLHKUPPdBwCqOjb_g8GuQIEKGAbcHrIwIkTQApU6kl5rJ0LBMXHmW0zUPI6A-PDhHSzAbTvDoQWmViLVznUFPdzkl1s72U5GorHJjEeNWuYomaM_c04ZcATaUoErw6BV8HJgeX1tJGawXpL/w432-h271/Lee%20golden%20age%20TV.jpg" width="432" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-family: arial; font-size: small;">Lee Remick and Jack Palance in "The Last Tycoon" on TV's <i>Playhouse 90</i> (1957)</span><br /></td></tr></tbody></table><p></p><p class="MsoNormal"><span style="font-family: arial; font-size: medium;"><span></span></span></p><a name='more'></a><span style="font-family: arial; font-size: medium;">It would take some time, but she would eventually establish film credentials as a dramatic actress. She was featured in the Blake Edwards thriller <i>Experiment in Terror </i>(1962) as an earnest bank employee who becomes the target of a viscious psychopath. Next came the challenging - and acclaimed - role in Edwards's wrenching <i>Days of Wine and Roses</i> (1962).
In it Lee portrayed the wife of a harried, hard-drinking ad man (Jack
Lemmon) who draws her into an all-consuming alcoholism. Remick’s bravura
performance as a shattered alcoholic wife and mother who cannot break her addiction
brought an Oscar nomination. That year was a competitive one in the Best Actress category, but another nominee, the formidable Bette Davis (<i>What Ever Happened to Baby Jane?</i>), reportedly saw Lee as her prime competition. "Miss Remick's performance astounded me, and I thought, if I lose the Oscar it will be to her," she said (Anne Bancroft ultimately won for<i> The Miracle Worker</i>).<i><br /></i></span><p></p>
<div style="text-align: center;"><iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/gcNCIp_BYNg" title="YouTube video player" width="560"></iframe></div><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><i>Days of Wine and Roses</i>, made when she was
just 26, was arguably the high water mark of Lee's film career. During the ‘60s she
appeared in a raft of movies, most of them popular, opposite top leading men of
the day, including Montgomery Clift, Steve McQueen, Glenn Ford, Burt
Lancaster, Frank Sinatra and Rod Steiger. Two of the best of her '60s films came back-to-back
in 1968, <i>No Way to Treat a Lady</i> with Steiger and <i>The Detective </i>with
Sinatra. </span></span></p><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><span style="font-family: arial;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEisjVhkaZ-8RnPlvItcRxiW-gMuHKnK0CoZzZfutDr-st0LBfp-liHgi4SqJGb2yqSyFwlxs2CebxqNCXeqcx1TvCYLFmYltF7TAijrBlNO3sYbnz9EsjNraNBsu48KL-v0L7kAnjgOnm9Qb99fYqjHbUUWccYthFhtkozD1SNz3-qg5QbmjTUkl4KI/s622/IMG_1064.JPG" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="622" data-original-width="396" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEisjVhkaZ-8RnPlvItcRxiW-gMuHKnK0CoZzZfutDr-st0LBfp-liHgi4SqJGb2yqSyFwlxs2CebxqNCXeqcx1TvCYLFmYltF7TAijrBlNO3sYbnz9EsjNraNBsu48KL-v0L7kAnjgOnm9Qb99fYqjHbUUWccYthFhtkozD1SNz3-qg5QbmjTUkl4KI/w204-h320/IMG_1064.JPG" width="204" /></a></span></span></div><span style="font-size: medium;"><span style="font-family: arial;">But she also had her disappointments. In 1966 she’d originated the female
lead, a blind woman targeted by home-invading thugs, </span></span><span style="font-size: medium;"><span style="font-family: arial;"> in <i>Wait Until Dark</i></span></span><span style="font-size: medium;"><span style="font-family: arial;"> on Broadway and was Tony-nominated for it. However,
when the play was adapted to the screen, her role went to Audrey Hepburn. She would lose out on the Mrs. Robinson part in <i>The Graduate</i> and reportedly turned
down the title role in Hitchcock’s <i>Marnie</i>, which is interesting since once the Bardot comparisons subsided, she was likened to Grace Kelly. This comparison, though possibly more accurate, did not sit well with Lee either. In an interview with columnist Joe Hyams she got testy when the subject came up. "I'm an actress and a woman," she declared, "and you can't classify me...nor dispose of me by comparing me to Brigitte Bardot or Grace Kelly." As time passed she began to feel that she was being offered “the same [film] script
over and over again,” so she started to accept more roles on television. The TV work, she said, seemed to offer more “fertile ground” for her as an actress.<br /></span></span><p></p><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">As it happened, the rise of the made-for-TV movie and the mini-series on U.S. television coincided with Lee's increased attraction to small-screen work. The first TV movie, <i>See How they Run</i>, starring John Forsythe and Franchot Tone, aired on NBC in 1964. By 1970 these TV films were so popular that NBC had launched its long-running <i>Movie of the Week </i>series the previous year. Lee Remick would appear in her first made-for-TV movie in 1967 as Lola in an NBC rendition of <i>Damn Yankees</i> (yes, she could sing, too) with Phil Silvers as the devil. </span></span></p><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"></span></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiAcVVCDoDN1J5MGkDT4_WeLDVYKnoIW_EXO80lcwmKJ8dhUpnx7zfZkflweqD8Jd8cxTjCzS5Xt9DdEhWUfrDzwCdWmRfE6uscJ-ouTFWJaqMLf9x43LNs3pm2wR7nHHxr0041A7_DMBs4eRnnivJ9vAANJGnIB1BNyuJvVrt1S3PuY0ph8eH4CaSZ/s736/Lee%20Remick%20and%20Wm%20Holden.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="604" data-original-width="736" height="329" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiAcVVCDoDN1J5MGkDT4_WeLDVYKnoIW_EXO80lcwmKJ8dhUpnx7zfZkflweqD8Jd8cxTjCzS5Xt9DdEhWUfrDzwCdWmRfE6uscJ-ouTFWJaqMLf9x43LNs3pm2wR7nHHxr0041A7_DMBs4eRnnivJ9vAANJGnIB1BNyuJvVrt1S3PuY0ph8eH4CaSZ/w400-h329/Lee%20Remick%20and%20Wm%20Holden.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-family: arial;"><span style="font-size: small;">William Holden and Lee Remick on the set of <i>The Blue Knight</i> (1973)</span></span><br /></td></tr></tbody></table><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><span style="font-family: arial;"></span></span></div><p><span style="font-size: medium;"><span style="font-family: arial;">It was in November 1973 that the first American TV mini-series - multi-part dramas, usually aired in one-hour segments over successive evenings - was broadcast on NBC. The series, <i>The Blue Knight</i>, was based on a best-selling novel by former police officer Joseph Wambaugh. William Holden starred as a grizzled veteran LAPD cop with Lee as his upscale college professor girlfriend. Sam Elliott, Eileen Brennan, Joe Santos, Anne Archer and Jamie Farr helped round out the cast. The story tracked what was to be the senior cop's final case before he retired and was mostly set in a run down area of L.A. among the local hoods, hookers, junkies, and other down-and-outers. I'm certain a young and impressionable Quentin Trantino must've seen this one first-run in his family's living room. The drama was a showcase for Holden who nailed his role as a tired and tough but decent old cop. Lee's character, like the rest of the cast, had a lot less screen time, but she did a fine job as the smart and independent but supportive lover who was set to become the officer's wife. Holden won an Emmy for his performance and Lee was nominated for hers. The series earned more Emmy nods and was popular enough to be released into theaters in condensed form. Then, in 1975 it was retooled as a regular weekly series starring George Kennedy in the Holden role.<br /></span></span></p><p></p><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">Following <i>The Blue Knight</i>, a floodgate of TV movie and mini-series offers flowed Lee Remick's way. 1974 brought what was for some time the jewel among her TV ventures<i>, Jennie: Lady Randolph Churchill</i>, a British production. The seven-episode mini-series followed the life of the young American woman who, while in Great Britain, met and married Lord Randolph Churchill and soon became the mother of Winston. The drama was nominated for six Emmys, including one for Lee in the title role, and won for its costume design. Lee would win a BAFTA and a Golden Globe for her elegant turn as the dazzling, determined and forever fascinating woman - and adored mother.</span></span></p><p class="MsoNormal" style="text-align: center;">
<iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/fTXFvgkXDxs" title="YouTube video player" width="560"></iframe>
<span style="font-family: arial; font-size: medium;"><span><i> </i></span></span></p><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">Though Lee's acting career had veered dramatically into TV in the early '70s, she did still occasionally appear on the big screen. Coming her way in 1976 was </span></span><span style="font-size: medium;"><span style="font-family: arial;"><i>The Omen </i>and the role of</span></span><span style="font-size: medium;"><span style="font-family: arial;"> Gregory Peck's wife and the mother of Damien, the child she believes is their natural son. It was a "prestige" horror film a la<i> Rosemary's Baby</i> and <i>The Exorcist</i>, and was a massive hit that launched a franchise. <i>The Omen</i> turned out to be the film, perhaps unfairly, that Lee Remick is most remembered for today. For the remainder of her career, r</span></span><span style="font-size: medium;"><span style="font-family: arial;">egardless of the juggernaut that was <i>The Omen</i>,</span></span><span style="font-size: medium;"><span style="font-family: arial;"> the bulk of Lee's work,</span></span><span style="font-size: medium;"><span style="font-family: arial;"> and she</span></span><span style="font-size: medium;"><span style="font-family: arial;"> </span></span><span style="font-size: medium;"><span style="font-family: arial;"> worked a lot, took place in TV-movies and mini-series. A few highlights:</span></span></p><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><i>Ike: The War Years</i> (1979). A three-episode mini-series based on the book by Kay Summersby about Dwight "Ike" Eisenhower's years before his presidency, when he commanded the US Army during WWII. Robert Duvall co-starred as "Ike" with Lee as Kay, his wartime driver and lover. <br /></span></span></p><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><i>Haywire</i> (1980). A TV-movie based on the memoir of Brooke Hayward, daughter of actress Margaret Sullavan and producer Leland Hayward. In this depiction of the erratic Hollywood years in the Sullavan/Hayward household, Lee portrayed Margaret Sullavan and Jason Robards co-starred as Leland Hayward.<br /></span></span></p><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"><i>The Women's Room</i> (1980). A TV-movie based on Marilyn French's best-selling feminist novel. Lee starred as a woman who leaves her philandering husband and goes back to college. There she meets other women who help motivate her to become a successful independent woman. Co-stars included Colleen Dewhurst, Tyne Daly and Patty Duke.</span></span></p><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;">Lee would continue to appear on screens large and small until the end of the 1980s. She had just completed a TV-movie, <i>Dark Holiday</i> (1989), when she was diagnosed with cancer. Two years later, in 1991, she passed away at age 55. The lovely, multi-talented actress may have lived a short life, but it surely was a richly creative one. Her acting credits included 28 films, 25 TV movies and mini-series and seven stage shows. She'd been nominated for an Oscar, seven Emmys, a Tony, and won a BAFTA and two Golden Globes among other awards in the course of her busy and wide-ranging career.</span></span></p><p class="MsoNormal"><span style="font-size: medium;"></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5r5wDxOmVdjlBIfmbHShUnS__r8vd2QoFUnom4nawMRuQBE4Yey4UEwQQ5NaxAVovkXA0ROxaiJu8kPU9KkcZa0O7YhENXcpXwfcLVEwVjFDpt2W-gKD-nyjRzt8hhwhIgZDFXODpVj-_a8JdM6uv__ftc11UkyVVxeJx2jigwLxmcdmnB3O-fAW2/s450/IMG_1075.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="450" data-original-width="360" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5r5wDxOmVdjlBIfmbHShUnS__r8vd2QoFUnom4nawMRuQBE4Yey4UEwQQ5NaxAVovkXA0ROxaiJu8kPU9KkcZa0O7YhENXcpXwfcLVEwVjFDpt2W-gKD-nyjRzt8hhwhIgZDFXODpVj-_a8JdM6uv__ftc11UkyVVxeJx2jigwLxmcdmnB3O-fAW2/w320-h400/IMG_1075.jpg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-family: arial;"><span style="font-size: small;">Lee Remick, Dec. 14, 1935 - July 2, 1991</span></span><br /></td></tr></tbody></table><span style="font-size: medium;"><span style="font-family: arial;"></span></span><p></p><p class="MsoNormal" style="text-align: center;"><span style="font-size: medium;"><span style="font-family: arial;">~</span></span></p><p class="MsoNormal" style="text-align: left;"></p><p></p><p class="MsoNormal" style="text-align: left;"><span style="font-size: medium;"><span style="font-family: arial;">This is my entry for the Classic Movie Blog Association's 2023 Spring Blogathon, <i>BIG Stars on the Small Screen</i>. Click <b><a href="http://clamba.blogspot.com/2023/05/the-cmba-presents-2023-spring-blogathon.html">here</a> </b>for links to some fabulous contributions from members of the CMBA.<br /></span></span></p><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: arial;"></span></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiB_nkQA_xWMP8kCGBCigUsz94CghB2emKh-UQguN2lmA4twAM5ttgDZp1MFQacuW9FysaNa3x13ff1NPBCGt5axWIrkk1qnL5AhU_njwwniZbCqappBTueoZPB9AoIvmROGfjqCUi5xyecaV0D3tFTi073iKmwlDrRXiZAaB5YQBY4ywGQ2SI6VDCb/s600/CMBA_Spring%202023%20Blogathon_Banner%206.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="600" data-original-width="300" height="531" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiB_nkQA_xWMP8kCGBCigUsz94CghB2emKh-UQguN2lmA4twAM5ttgDZp1MFQacuW9FysaNa3x13ff1NPBCGt5axWIrkk1qnL5AhU_njwwniZbCqappBTueoZPB9AoIvmROGfjqCUi5xyecaV0D3tFTi073iKmwlDrRXiZAaB5YQBY4ywGQ2SI6VDCb/w266-h531/CMBA_Spring%202023%20Blogathon_Banner%206.jpeg" width="266" /></a></div><p></p><p class="MsoNormal"></p>The Lady Evehttp://www.blogger.com/profile/11963115499930520653noreply@blogger.com34tag:blogger.com,1999:blog-8509825018139758536.post-63382529111148597132022-11-11T00:00:00.032-08:002023-01-04T20:03:34.989-08:00Angela Lansbury Noir: A Life at Stake (1955) and Please Murder Me! (1956)<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjkFw-6855XMTToxUcJlbccRCUQtcg7sEHu1PohZgN4ph25vt2wfv9ayF-1plucUud7emPDU4c57I3QITbqh0j_zAfdXIeB3e8Cbe_rpyLh10-hmYI_9fb5nGT3611Xipjd10ModUiFaPp0mS1ioD497hG10S1GYaybnbrBaY9xmaGt7IUTBZwawgDk/s1024/Angela%20blog%20noir%20image.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1024" data-original-width="1024" height="380" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjkFw-6855XMTToxUcJlbccRCUQtcg7sEHu1PohZgN4ph25vt2wfv9ayF-1plucUud7emPDU4c57I3QITbqh0j_zAfdXIeB3e8Cbe_rpyLh10-hmYI_9fb5nGT3611Xipjd10ModUiFaPp0mS1ioD497hG10S1GYaybnbrBaY9xmaGt7IUTBZwawgDk/w380-h380/Angela%20blog%20noir%20image.jpg" width="380" /></a></div><span style="font-size: medium;"><br />It was only with her passing last month that I found out
Dame Angela Lansbury had made a couple of low budget films noir during her long,
storied career. I was aware, of course, that she had played some memorably unpleasant
female characters over the years. There was Nancy, Ingrid Bergman's devious maid
in <i>Gaslight</i> (1944), Lansbury's first film performance, and one for which
she was Oscar-nominated. Then, two years later she portrayed the spiteful dance-hall
queen, Em, nemesis of Judy Garland in <i>The Harvey Girls</i> (1946). Between
those films, though, she had been Elizabeth Taylor's wholesome older sister,
Edwina, in <i>National Velvet</i> (1945), and had, in a lovely Oscar-nominated turn, played the heartbreaking tavern singer, Sibyl Vane, in <i>The Picture of
Dorian Gray </i>(1945). It would’ve been difficult to predict then, judging from the level of talent and range she displayed in her early performances for MGM, that Angela Lansbury would someday venture into down-and-dirty
film noir from a neighborhood south of Poverty Row. There may have been a hint in one of her final films under her MGM contract, though. Just before she left MGM
and her career began to languish, Lansbury appeared in <i>Kind Lady</i> (1951). Ethel Barrymore starred
as a wealthy art collector in this notable and noirish suspense thriller. Lansbury appeared as a member of a gang of malicious thieves
set on taking over the woman’s life, fleecing her of all she has and then killing
her.
<span><a name='more'></a></span>
</span><p class="MsoNormal"><span style="font-size: medium;"></span></p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgYd3Cn9tGDH8r38DdLj6OFTtq_dMtUzJ7Jf_e7Se1Wms_onfpOF8S6jZdQYtmPmx4Hogo3nrUw5gFLJdJm0ePj-pAZ3UcSsmyAgg4bph3AEwKkKs3RsAaU0cOnIH8wIW6beuIRmWHojfGHK6DLok62LKQFuXrlVz9zVW8TNxIhquZdGhIcVFj9beAr/s691/Angela%20Life%20at%20Stake.jpg" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="445" data-original-width="691" height="258" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgYd3Cn9tGDH8r38DdLj6OFTtq_dMtUzJ7Jf_e7Se1Wms_onfpOF8S6jZdQYtmPmx4Hogo3nrUw5gFLJdJm0ePj-pAZ3UcSsmyAgg4bph3AEwKkKs3RsAaU0cOnIH8wIW6beuIRmWHojfGHK6DLok62LKQFuXrlVz9zVW8TNxIhquZdGhIcVFj9beAr/w400-h258/Angela%20Life%20at%20Stake.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;"><i>A Life at Stake </i>(1955)</span><br /></td></tr></tbody></table><p></p><p><span style="font-size: medium;">Angela Lansbury left MGM in 1952 and like so many other
actors whose careers went into a spin as the studios went into decline, moved
into series and anthology television, finding only occasional film work. Her first
B-noir, <i>A Life at Stake</i>, would come in 1955. One of only two films issued
by Hank McCune Productions, <i>A Life at Stake</i> is flimsy fare apparently
made on a half-a-shoestring budget. <span> </span>A thin and contrived plot borrows from every noir from <i>Double Indemnity </i>on
that involves a greedy woman and an enticing insurance policy. Keith
Andes, who more often in his career appeared in supporting roles, stars as an architect/builder with
financial woes who is lured into a real estate partnership with Lansbury, a
seductive businesswoman with a husband. She and her spouse (Douglass Dumbrille)
are less concerned with the property and construction business than they are with
Andes taking out the excessively high “key man” insurance policy that they plan to
cash in on as soon as possible. Andes, in an agitated state through most of the
picture, is alternately wised-up and gullible. Every time something occurs
that rightly convinces him Lansbury is out to kill him (and she nearly does more than once), she reels him back in with a sudden, transparently phony burst
of passion. Lansbury does the best she can with weak material.
Meanwhile, older husband Dumbrille and Jane Darwell, as Andes’ landlady, aren’t
given the time or space to add anything to this jumble. There’s not much to recommend <i>A Life at Stake</i>, but at an hour
and sixteen minutes, it’s worth watching for those with an interest in obscure
no-budget noir and those who are devoted fans of Dame Angela. </span></p><p>
</p><div class="MsoNormal" style="text-align: left;"><span style="font-size: medium;"><i>A Life at Stake </i>(1955) <br /></span></div>
<div class="MsoNormal" style="text-align: left;"><span style="font-size: medium;">Directed by: Paul Guilfoyle</span></div>
<div class="MsoNormal" style="text-align: left;"><span style="font-size: medium;">Screenplay by: Russ Bender, Hank McCune</span></div>
<div class="MsoNormal" style="text-align: left;"><span style="font-size: medium;">Music by: Les Baxter</span></div>
<div class="MsoNormal" style="text-align: left;"><span style="font-size: medium;">Production Co.: Hank McCune Productions</span></div>
<div class="MsoNormal" style="text-align: left;"><span style="font-size: medium;">Distributed by: Filmmakers Releasing Org.; Monarch Film
Corp. (UK)</span></div>
<div class="MsoNormal" style="text-align: left;"><span style="font-size: medium;">Starring: Angela Lansbury, Keith Andes, Douglass Dumbrille,
Claudia Barrett, Jane Darwell</span></div>
<div class="MsoNormal" style="text-align: left;"><span style="font-size: medium;">Available on Prime Video, YouTube, etc.</span></div><p class="MsoNormal"></p>
<p class="MsoNormal"><span style="font-size: medium;">Angela Lansbury would fare better with her second foray into
B-noir. <i>Please Murder Me! </i>(1956), like <i>A Life at Stake</i>, was the product
of another short-lived, cash-strapped production company, Gross-Krasne, with
few credits in its filmography. But the director, Peter Godfrey, even if past
his prime, had some solid Hollywood experience, with <i>Christmas
in Connecticut </i>(1945) and <i>The Two Mrs. Carrolls </i>(1947) among his
credits. And this time Dame Angela would be paired with a more than worthy co-star,
Raymond Burr, then in the midst of his transition to television. <br /></span></p>
<p class="MsoNormal"></p>
<p class="MsoNormal"><span style="font-size: medium;">The scene is a city street at night. A man in an overcoat hustles
through the shadows and into a pawnshop. He comes out with a gun, jumps into
the back of a cab and heads to his office for a late appointment. Once there, the
man, who is an attorney, carefully prepares for his meeting. He turns on a tape
recorder and begins to dictate a tale told in flashback: how it all began, and
how it is all going to end.</span><span style="font-size: medium;"> </span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEWqxs4wuLHYuuOTJF3CoK9Z9BlYrHR2J78_qO5tn_YKsDHU6ankmN_sFA2GBnkRPMfoSzIns55CcFWAtaS90T9hy1aO-TCNf2KbWwFxHaP6_f6PcvFbphaz40R2v3SHL_d0jw_JN7suZeb_p6ReYcZwOO2SyZvwMpgLxc3xFCiYmIdIQtHcvvNfeH/s1007/Angela%20Please.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="839" data-original-width="1007" height="334" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEWqxs4wuLHYuuOTJF3CoK9Z9BlYrHR2J78_qO5tn_YKsDHU6ankmN_sFA2GBnkRPMfoSzIns55CcFWAtaS90T9hy1aO-TCNf2KbWwFxHaP6_f6PcvFbphaz40R2v3SHL_d0jw_JN7suZeb_p6ReYcZwOO2SyZvwMpgLxc3xFCiYmIdIQtHcvvNfeH/w400-h334/Angela%20Please.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;"><i>Please Murder Me! (1956)</i></span></td></tr></tbody></table><p class="MsoNormal"></p><p class="MsoNormal"><span style="font-size: medium;">Raymond Burr is that attorney, and his performance in this
role might well have paved the way for his being cast as Perry Mason in
the TV series that debuted a year later, in 1957. Like Mason, this lawyer,
Craig Carlson, is an honorable man who is deeply serious about the law and
justice. Thoughtful as well as methodical, he makes plans and chooses his words
with equal care. The problem is that Carlson made the mistake of falling in
love with his best friend’s wife, an upscale gold-digger played by Angela
Lansbury. When she is charged with capital murder, Carlson defends her and, with
a shocking courtroom reveal, gets an acquittal. Later he will discover that he has been duped and will set about conjuring a clever plan – with a diabolical
twist – to bring about not only vengeance and justice but to also relieve
his guilt-ridden soul.</span></p><p></p>
<p class="MsoNormal"><span style="font-size: medium;">The slow moments are few - a bit too much time in the courtroom, an overlong scene in an artist’s loft - for <i>Please Murder Me! </i>generally moves
at a good clip. The tricky plot, a capable director and a decent screenplay
provide a nice showcase for two seasoned pros facing off in a duel to the death. Burr’s is the centerpiece
role, and he plays it with no less style and command than he later gave to
Mr. Mason. Lansbury easily handles the role of Myra Leeds, a self-assured schemer,
confident of her skill in seducing and out-smarting the men in her life. Myra becomes more interesting when the tables turn and her former patsy of
a defense attorney declares he will stop at nothing to bring her to
justice. With this, she begins to unravel, becoming unsettled and fidgety, twitching and chain-smoking as she waits for the other shoe, a
shoe that happens to be held by her one-time attorney, to drop.</span></p>
<p class="MsoNormal"><span style="font-size: medium;">Raymond Burr would step seamlessly from this into his star-making
role as peerless defense attorney Perry Mason the following year. It would be
another six years, years in which she began her climb to the top on Broadway, before Angela
Lansbury would, in a truly brilliant, Oscar-nominated performance, portray one of the most wicked of women ruthless Eleanor Iselin, the power mad mother-from-Hell in John
Frankenheimer’s chilling Cold War thriller, <i>The Manchurian Candidate.</i></span> </p>
<div class="MsoNormal" style="text-align: left;"><span style="font-size: medium;"><i>Please Murder Me </i>(1956)</span></div>
<div class="MsoNormal" style="text-align: left;"><span style="font-size: medium;">Directed by: Peter Godfrey</span></div>
<div class="MsoNormal" style="text-align: left;"><span style="font-size: medium;">Screenplay by: Al C. Ward, Donald Hyde; story by Ewald Andre
Dupont and David T. Chantler</span></div>
<div class="MsoNormal" style="text-align: left;"><span style="font-size: medium;">Music by: Albert Glasser</span></div>
<div class="MsoNormal" style="text-align: left;"><span style="font-size: medium;">Production Co.: Gross-Krasne Productions</span></div>
<div class="MsoNormal" style="text-align: left;"><span style="font-size: medium;">Distributed by: Distributors Corp. of America</span></div>
<div class="MsoNormal" style="text-align: left;"><span style="font-size: medium;">Starring: Angela Lansbury, Raymond Burr, John Dehner, Dick
Foran, Lamont Johnson</span></div>
<div class="MsoNormal" style="text-align: left;"><span style="font-size: medium;">Available on Prime Video, YouTube, etc.</span></div><div class="MsoNormal" style="text-align: left;"><span style="font-size: medium;"> </span></div><div class="MsoNormal" style="text-align: left;"><span style="font-size: medium;"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigfwyxa2zR4eRd0ZA-Rdo4KQTda0P_WQCsH-_To04oCXkwg0mw45Jm_uJfrrh8SHS8TAdpWsy1KjKCEOKkB2jWhJOkw6nB3blgDkWjNo3xUmOFl5kPKEif-pKuoAUG6FkhMACwvDoxNP9WzMoMyxfj2WYExpi1m7bNglhchGN7nA57dDGFpPUyRMu7/s1024/Angela%20Manchurian%20Candidate.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="575" data-original-width="1024" height="228" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigfwyxa2zR4eRd0ZA-Rdo4KQTda0P_WQCsH-_To04oCXkwg0mw45Jm_uJfrrh8SHS8TAdpWsy1KjKCEOKkB2jWhJOkw6nB3blgDkWjNo3xUmOFl5kPKEif-pKuoAUG6FkhMACwvDoxNP9WzMoMyxfj2WYExpi1m7bNglhchGN7nA57dDGFpPUyRMu7/w405-h228/Angela%20Manchurian%20Candidate.jpg" width="405" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-family: arial;"><i>The Manchurian Candidate(1962)</i></span></td></tr></tbody></table></span><div style="text-align: center;"><span style="font-size: medium;"> </span><span style="font-size: medium;"> ~</span></div></div><p class="MsoNormal" style="text-align: center;"><span style="font-size: medium;"><b><span style="font-size: small;">This post is my contribution to the Classic Movie Blog Association's Fall 2022 Blogathon, <i>Movies are Murder</i>, <a href="http://clamba.blogspot.com/2022/11/its-time-for-fall-2022-cmba-blogathon.html"><span style="color: red;">click here</span></a> for links to all participating blogs. </span></b></span></p><p class="MsoNormal" style="text-align: center;"></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><b><span style="font-size: small;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYHfrNEsgQ9yO4qWauZKhS-AP3AuHpLtpxHiGArxGvWFqQ8fgZG2_pITNjnyfmg3x_PgBJTTsr_RjrtlJxjI7A85nVXMUVTIka5HLhnkCQ14trQQux1T_X8fwMMaCg79RbMikDc6q9cHJFZysOQiILjxj4MHqCi_TBGdG9D_vDlUr_vli8Kp0V5azS/s1024/2022%20CMBA%20fall%20blogathon.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="853" data-original-width="1024" height="334" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYHfrNEsgQ9yO4qWauZKhS-AP3AuHpLtpxHiGArxGvWFqQ8fgZG2_pITNjnyfmg3x_PgBJTTsr_RjrtlJxjI7A85nVXMUVTIka5HLhnkCQ14trQQux1T_X8fwMMaCg79RbMikDc6q9cHJFZysOQiILjxj4MHqCi_TBGdG9D_vDlUr_vli8Kp0V5azS/w400-h334/2022%20CMBA%20fall%20blogathon.jpg" width="400" /></a></span></b></span></div><span style="font-size: medium;"><br /></span><p></p>
<p></p>The Lady Evehttp://www.blogger.com/profile/11963115499930520653noreply@blogger.com19tag:blogger.com,1999:blog-8509825018139758536.post-82274597130369266042022-05-17T16:22:00.015-07:002022-10-18T20:14:06.735-07:00Fun in the Sun: Excitement on the French Riviera in Alfred Hitchcock's "To Catch a Thief" (1955)<p></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJDnLEhzr6cgTta641hG303drogQRJbEc85r0hlUfDpp2CA8ern9pgb6AxnctgyRQbY1KDz6Mo51LQ8BBCEc90_w1yFQlzopO2TE2R9zUzUG5aIqr4krbgkxNldUshos4uofEx90ESUKx-NwEg4Wh8YCcNaQZL9kvFLjjPG0wKmAZHXdNI5__I3BS-/s638/TCaT%20travel.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="349" data-original-width="638" height="262" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJDnLEhzr6cgTta641hG303drogQRJbEc85r0hlUfDpp2CA8ern9pgb6AxnctgyRQbY1KDz6Mo51LQ8BBCEc90_w1yFQlzopO2TE2R9zUzUG5aIqr4krbgkxNldUshos4uofEx90ESUKx-NwEg4Wh8YCcNaQZL9kvFLjjPG0wKmAZHXdNI5__I3BS-/w479-h262/TCaT%20travel.jpg" width="479" /></a></span></div><span style="font-size: medium;"> </span><p></p><p><span style="font-size: medium;">Romance, adventure and intrigue, plus dashing Cary Grant and delectable Grace Kelly. All of this along with a tour of the glittering French Riviera courtesy of Alfred Hitchcock. Who could resist such high style fun in the sun - and moonlight?</span></p><p><span style="font-size: medium;"></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3GI_xtf4A3FKKFn0zA_mEHEJx0RIULas4NFjRK13ap6rGxoo_974BD-f4RrDOvnGhRYdz7TXCian0I13LfSQ6hsApq-jlqffYGK2JsD26lgeoiqVvQmby2w75MkKICDT9vRvyr9GUXR_2SDk5VFoEKILoamu8WM4s8MzTlCY48XPp7KBI4dyE9guY/s852/TCat%20balcony.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="480" data-original-width="852" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3GI_xtf4A3FKKFn0zA_mEHEJx0RIULas4NFjRK13ap6rGxoo_974BD-f4RrDOvnGhRYdz7TXCian0I13LfSQ6hsApq-jlqffYGK2JsD26lgeoiqVvQmby2w75MkKICDT9vRvyr9GUXR_2SDk5VFoEKILoamu8WM4s8MzTlCY48XPp7KBI4dyE9guY/w400-h225/TCat%20balcony.jpg" width="400" /></a><span style="font-size: medium;"></span></div><span style="font-size: medium;">What rapidly turns into an adventure begins with a mundane shot of a sedate travel agency where a colorful poster in its window proclaims, "<i>If you love life, you'll love France.</i>" The scenario shifts quickly, plunging into the poster image of the<i> </i>Riviera and then, suddenly, to the face of a middle-aged woman who is screaming frantically as she discovers her jewels have been stolen. Running to the sea-view balcony of her hotel suite she cries out over the Promenade des Anglais, "Help, help, police!" It soon comes out that the Riviera has lately been plagued by a rash of robberies all having the earmarks of a legendary jewel thief, now retired, by the name of John Robie (Cary Grant), once known as "the Cat."<span><a name='more'></a></span></span><p></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgoU_6hwJMfNKe3L_P2NMRaPCLnFDu2tERVgTkAODmY0sdvd4g16w3nRrCoZirU2wyuGJde1TB_8Mo5xg7po1fA1vkWnjrOQu4GgfIFprw9vbDH22a1bxAP1Gi_x-25YFQRwd_eoy6KDThCgZfDuObi4zBF_xCgVV0GeYKxq8GCxddTm5LGqHFQHR-o/s683/TCAT%20Saint%20Jeannet.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="383" data-original-width="683" height="224" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgoU_6hwJMfNKe3L_P2NMRaPCLnFDu2tERVgTkAODmY0sdvd4g16w3nRrCoZirU2wyuGJde1TB_8Mo5xg7po1fA1vkWnjrOQu4GgfIFprw9vbDH22a1bxAP1Gi_x-25YFQRwd_eoy6KDThCgZfDuObi4zBF_xCgVV0GeYKxq8GCxddTm5LGqHFQHR-o/w400-h224/TCAT%20Saint%20Jeannet.jpg" width="400" /></a><span style="font-size: medium;"></span></div><span style="font-size: medium;">A lighthearted thriller spiced with wit and sly innuendo, <i>To Catch a Thief</i> blends mystery, romance and a breathless romp through the South of France and the Principality of Monaco. It's a wonderful ride that takes off when the local police speed to John Robie's home in the hills of the Cote d'Azur to question him. </span><span style="font-size: medium;">The one-time jewel thief has been living a quiet, simple-but-elegant life at his villa, the Villa des Bijoux, in the village of Saint-Jeannet, but his tranquility is about to be disrupted...</span><p><span style="font-size: medium;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdSq90fkddlbAY8nHYBjnlQtruIb-HqUXbF-bIUylCcdgLdr_pjZMwX1Ilb-WIzL9flLjGjLGbJZoYST2hyWquyUzjr71AnWkIK9BtbHG54RdQUC9iuFmdoMTKU2DU1wQgvHE-1K1oX8WbKVPp8Qy6jvGG3PAC5BWGXb-zlss9AgHOlFySM8QCddze/s736/TCat%20interior%20villa.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="414" data-original-width="736" height="233" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdSq90fkddlbAY8nHYBjnlQtruIb-HqUXbF-bIUylCcdgLdr_pjZMwX1Ilb-WIzL9flLjGjLGbJZoYST2hyWquyUzjr71AnWkIK9BtbHG54RdQUC9iuFmdoMTKU2DU1wQgvHE-1K1oX8WbKVPp8Qy6jvGG3PAC5BWGXb-zlss9AgHOlFySM8QCddze/w414-h233/TCat%20interior%20villa.jpg" width="414" /></a></span></div><span style="font-size: medium;"><br />During his years as a "cat burglar," Robie mastered the art of the stealthy entrance and exit, and so when the police arrive, he creates a diversion and slips out his bedroom window to avoid further grilling and possible arrest. Now he is intent on discovering who is copycatting his well known <i>modus operandi</i>.</span><p></p><p><span style="font-size: medium;"></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhvOhQbbtcHOIljA41SNHMKJPgahty0E5BL0NMTwV0d6pYhQbvRvsJtdj8_hpkNSwvHZ1-AEY90Jwc3YECVbzpRCUU9S1lcAfxjTfXKCi3dg_Dz4DG2gBgvlKQksa3QddXOF2O9VG9OP8ba2dpr7H1bH2qbK6n2zmFYCZGTSDB1j-JbJwxUPeeGqZ-m/s800/TCat%20Bertani.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="435" data-original-width="800" height="217" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhvOhQbbtcHOIljA41SNHMKJPgahty0E5BL0NMTwV0d6pYhQbvRvsJtdj8_hpkNSwvHZ1-AEY90Jwc3YECVbzpRCUU9S1lcAfxjTfXKCi3dg_Dz4DG2gBgvlKQksa3QddXOF2O9VG9OP8ba2dpr7H1bH2qbK6n2zmFYCZGTSDB1j-JbJwxUPeeGqZ-m/w400-h217/TCat%20Bertani.jpg" width="400" /></a><span style="font-size: medium;"></span></div><span style="font-size: medium;">Making his way to the Riviera, Robie first seeks out a gang of cronies who work at Bertani's restaurant on the Quai Antoine ter. Bertani (Charles Vanel) and staff are, like Robie, former thieves and crooks who fought together in the resistance during World War II. Robie is hoping to get some support and possible guidance, but gets nothing but grief from this surly crew. A clever fellow, John Robie is not one to run out of ideas. He checks in with the daughter (Brigitte Auber) of one of Bertani's men - to no avail - and then solicits help from H.H. Hughson (John Williams), an insurance man from Lloyds of London desperate to see the jewel robberies come to an end. Through Hughson, Robie meets the wealthy Stevens women, sleek blonde Francie (Grace Kelly) and her lovely, no-nonsense mother (Jessie Royce Landis), a woman with a collection of very fine jewelry.</span><p></p><p><span style="font-size: medium;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVegDhvZkS3TwTu57AQNR9mpqsl7QDaOk9t3TAJ91jcAGZbZPWcZrAGvLmcSYNknhPosvpouFCBvsXxBQsigO0tc4x9Lvc9g6df6xwtHxk9GkYwUjTCttKd-UYbanAqItb4cmN_J2imtxC_1bmSmFKHx7elC-rx8Od_CO2HSlrXJMW-07QcKQMSsW3/s640/TCat%20collage%202.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="640" data-original-width="640" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVegDhvZkS3TwTu57AQNR9mpqsl7QDaOk9t3TAJ91jcAGZbZPWcZrAGvLmcSYNknhPosvpouFCBvsXxBQsigO0tc4x9Lvc9g6df6xwtHxk9GkYwUjTCttKd-UYbanAqItb4cmN_J2imtxC_1bmSmFKHx7elC-rx8Od_CO2HSlrXJMW-07QcKQMSsW3/w400-h400/TCat%20collage%202.jpg" width="400" /></a></span></div><span style="font-size: medium;"></span><p></p><p><span style="font-size: medium;">From the Monte Carlo Harbour to Nice's<i> </i>Cours Saleya flower market, to the Hotel Carlton International and its beaches, the cliffs of the village of Beausoleil and the ballroom of the Chateau de la Croix-des-Gardes, every vista in every direction is spectacular. And as this fabulous travelogue unfolds, a mystery is gradually solved and a romance blooms.</span></p><p><span style="font-size: medium;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjs02HxvOq-K_2IcTj63VPkThB8eY26Ht87JUvcyIfK4Yjhy_JSivqGHODvfK5VAAyvGW7uuEdsHD9XqEiA5DDJwHSP_aKNJCMyGlESyQCYgTUefWI1q8qEGLZsxGE_8vIPvfkjQg-3JjYUw9iwne6Uy_a49C6BcL5_aQW3SFCm1napPp2-eA6Lne5Q/s640/TCat%20picnic.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="640" data-original-width="640" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjs02HxvOq-K_2IcTj63VPkThB8eY26Ht87JUvcyIfK4Yjhy_JSivqGHODvfK5VAAyvGW7uuEdsHD9XqEiA5DDJwHSP_aKNJCMyGlESyQCYgTUefWI1q8qEGLZsxGE_8vIPvfkjQg-3JjYUw9iwne6Uy_a49C6BcL5_aQW3SFCm1napPp2-eA6Lne5Q/w400-h400/TCat%20picnic.jpg" width="400" /></a></span></div><span style="font-size: medium;"><br />Some have called <i>To Catch a Thief</i> 'Hitchcock light.' Perhaps, but I would liken its lightness to the sensations of buoyancy and effervescence one experiences with a glass or two of good champagne. In fact, <i>To Catch a Thief</i> and champagne make splendid companions on a balmy afternoon or evening when fun-and-a-movie is on the menu.</span><p></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjcuzkmBTbqZRm3RcCQokBy6TP3BuP7QAxPheXZZiANw_691JQ6_HcuEi0qr8ZVIboJGnFQRT_je6dMeExnSZNrwc5ZNRQ7CFUKjl4q70LVMvM8fmceOxhpfkQFT-zIdlva87Iz9bNMHRi-v15_WQXv9S78FWhp2EhNpP9IRNSNwqwzZMZghXvB-CWI/s599/TCat%20roof.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="321" data-original-width="599" height="214" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjcuzkmBTbqZRm3RcCQokBy6TP3BuP7QAxPheXZZiANw_691JQ6_HcuEi0qr8ZVIboJGnFQRT_je6dMeExnSZNrwc5ZNRQ7CFUKjl4q70LVMvM8fmceOxhpfkQFT-zIdlva87Iz9bNMHRi-v15_WQXv9S78FWhp2EhNpP9IRNSNwqwzZMZghXvB-CWI/w400-h214/TCat%20roof.png" width="400" /></a></div><p style="text-align: center;"><span style="font-size: medium;"> ~</span></p><p style="text-align: center;"><span style="font-size: medium;"><b>This is my contribution to the Classic Movie Blog Assn.'s </b><i><b>Fun in the Sun Spring Blogathon</b></i><b>, <span style="color: #cc0000;"><a href="http://clamba.blogspot.com/2022/05/its-time-for-cmba-spring-blogathon-fun.html">Click here</a> </span>for links to all participating blogs<br /></b></span></p><p><span style="font-size: medium;"><i><b></b></i></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><i><b></b></i></span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><i><b></b></i></span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><i><b><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiF9KwpGLN4-2weOxKQbKC8BTC4vaHlmu5OkzieFUq1ZM9gTloeUNJW9Ipz4t4LvU5G9emtUcnP5LXZjIakeQRVQ9jZZNv-BvmF0TgpkLnjBzqHM_EKS8gJVSqDALjRZ2kIzV0wB2dbqiHFwaV6MaQolTuROnJ8zxT7eYsJt6mjeK_Sqlj9D4m7b8rL/s2216/blogathon%20spring%202022.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1108" data-original-width="2216" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiF9KwpGLN4-2weOxKQbKC8BTC4vaHlmu5OkzieFUq1ZM9gTloeUNJW9Ipz4t4LvU5G9emtUcnP5LXZjIakeQRVQ9jZZNv-BvmF0TgpkLnjBzqHM_EKS8gJVSqDALjRZ2kIzV0wB2dbqiHFwaV6MaQolTuROnJ8zxT7eYsJt6mjeK_Sqlj9D4m7b8rL/w400-h200/blogathon%20spring%202022.jpg" width="400" /></a></b></i></span></div><p></p><p style="text-align: center;"><span style="font-family: inherit; font-size: medium;"><b><span>Many thanks to the members of the Classic Movie Blog Association who voted this piece a Best Classic Film Review - Comedy Award for 2022.</span></b></span></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgnKNergHXNOVbwUjQmTAUn2b5fxg5gtyh_J2FGsODvi3khiwijIQ6jspTqf-Rlo76YGy-aiYHzsPrm6e4TyEZ26CSkvaPvkblRyr0muE2Ro9QJcOrW3LpgR1aL65N5MiX01IL5u8MOXLsYQxS3cXwXNMaGCkEbZqckqJJVFXsagk0lvMj6CfwVTJK-/s497/CMBA%20Awards_Classic%20Film%20Review-Musical%20or%20Comedy%202022.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="497" data-original-width="477" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgnKNergHXNOVbwUjQmTAUn2b5fxg5gtyh_J2FGsODvi3khiwijIQ6jspTqf-Rlo76YGy-aiYHzsPrm6e4TyEZ26CSkvaPvkblRyr0muE2Ro9QJcOrW3LpgR1aL65N5MiX01IL5u8MOXLsYQxS3cXwXNMaGCkEbZqckqJJVFXsagk0lvMj6CfwVTJK-/s320/CMBA%20Awards_Classic%20Film%20Review-Musical%20or%20Comedy%202022.png" width="307" /></a></div><br /> <p></p><p><br /></p>The Lady Evehttp://www.blogger.com/profile/11963115499930520653noreply@blogger.com21tag:blogger.com,1999:blog-8509825018139758536.post-47928685113231631512022-05-05T16:00:00.037-07:002022-10-18T19:42:00.665-07:00THE CAFTAN WOMAN BLOGATHON<p><span style="font-size: medium;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDEqI71VNfQP94lxi0hnTByKz5x-P46Kh-ccEPg_EHQTWDFpeCW8J-m3yp7zD42aHPN_1029XWnyNtqpVeL0ceaoadRiJdi5sYyLc_z47LYkK2R1f77TKGxPwKsMvSnsHpmb4gWmsGKeNg9U_H3EDBqmNLvEDg0gAhMeIWAfAz5CDw9cqz8i-7C4iD/s1529/Caftan%20Woman%20Blogathon%202022%20patterns.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1144" data-original-width="1529" height="346" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDEqI71VNfQP94lxi0hnTByKz5x-P46Kh-ccEPg_EHQTWDFpeCW8J-m3yp7zD42aHPN_1029XWnyNtqpVeL0ceaoadRiJdi5sYyLc_z47LYkK2R1f77TKGxPwKsMvSnsHpmb4gWmsGKeNg9U_H3EDBqmNLvEDg0gAhMeIWAfAz5CDw9cqz8i-7C4iD/w463-h346/Caftan%20Woman%20Blogathon%202022%20patterns.jpg" width="463" /></a></span></div><p></p><p><span style="font-size: medium;">Today we celebrate our friend and fellow classic film (and more) blogger, Patricia Nolan-Hall aka/Paddy, Paddy Lee - and Caftan Woman, the name of her award-winning blog. When Paddy left us on March 7th, we lost one of classic film's most passionate champions and finest, most devoted bloggers. She was also conscientiously supportive of other bloggers and an avid participant in just about any/all classic film/TV/popular culture blogathons that came along. And so, we have chosen to join together and honor Paddy with a blogathon of her own, <i>The Caftan Woman Blogathon - Honoring Patricia Nolan-Hall.<span></span></i></span></p><a name='more'></a><p></p><p class="MsoNormal"><span style="font-size: medium;">Below are listed participating blogs and their subjects. Please visit them all! And please make sure to visit Paddy's <span>blog <a href="https://www.caftanwoman.com/"><span style="color: #cc0000;">here</span>.</a> </span></span></p><p class="MsoNormal"><span style="font-size: medium;"><span><u>Blog/Title of Post</u> <br /></span></span></p><p class="MsoNormal"><span style="font-size: medium;"><span class="css-901oao"><span lang="EN">18 Cinema Lane: <a href="https://18cinemalane.com/2022/05/06/take-3-the-song-of-bernadette-review/">Take 3:The Song of Bernadette Review</a><br /></span></span></span></p><p class="MsoNormal"><span style="font-size: medium;"><span class="css-901oao"><span lang="EN">Another Old Movie Blog: <a href="https://anotheroldmovieblog.blogspot.com/2022/05/the-case-of-charlie-chan-and-caftan.html">The Case of Charlie Chan and The Caftan Woman</a></span></span></span></p><p class="MsoNormal"><span style="font-size: medium;"><span class="css-901oao"><span lang="EN">By Rich Watson: <a href="https://byrichwatson.blogspot.com/2022/05/saturday-night-at-movies-connected.html">"Saturday Night at the Movies" Connected Canadian Viewers to Classic Cinema</a><br /></span></span></span></p><p class="MsoNormal"><span style="font-size: medium;"><span class="css-901oao"><span lang="EN">CineMaven's Essays from the Couch: <a href="https://cinemavensessaysfromthecouch.wordpress.com/2022/05/06/the-caftan-woman-blogathon-marked-woman-1937/">The Caftan Woman Blogathon: Marked Woman (1937) </a><br /></span></span></span></p><p class="MsoNormal"><span style="font-size: medium;"><span class="css-901oao"><span lang="EN">Classic Film Observations & Obsessions: <a href="https://classicfilmobsessions.blogspot.com/2022/05/harry-carey-in-hell-bent-1918-shepherd.html">Part II of The Carey Family in the John Ford Western Universe</a></span></span></span></p><p class="MsoNormal"><span style="font-size: medium;"><span class="css-901oao"><span lang="EN">The Classic Movie Muse: <a href="https://theclassicmoviemuse.com/2022/05/06/remembering-patricia-nolan-hall-our-classic-movie-friend/">Remembering Patricia Nolan-Hall, Our Classic Movie Friend </a><br /></span></span></span></p><p class="MsoNormal"><span style="font-size: medium;"><span class="css-901oao"><span lang="EN">Critica Retro: <a href="https://criticaretro.blogspot.com/2022/05/o-mordomo-trapaceiro-1967-fitzwilly-1967.html">Fitzwilly (1967)</a><br /></span></span></span></p><p class="MsoNormal"><span style="font-size: medium;"><span class="css-901oao"><span lang="EN">Dubsism: <a href="https://dubsism.com/2022/05/06/story-time-with-j-dub-episode-7-the-sports-education-of-caftan-woman/">Story Time with J-Dub: Episoce 7 - "The Sports Education of Caftan Woman"</a><br /></span></span></span></p><p class="MsoNormal"><span style="font-size: medium;"><span class="css-901oao"><span lang="EN"></span></span></span></p><p class="MsoNormal"><span style="font-size: medium;"><span class="css-901oao"><span lang="EN">Hometowns to Hollywood: <a href="https://hometownstohollywood.com/film-reflections/films-of-the-1940s/portrait-of-jennie-1948/">Portrait of Jennie (1948)</a></span></span></span></p><p class="MsoNormal"><span style="font-size: medium;"><span class="css-901oao"><span lang="EN">In t</span></span></span><span style="font-size: medium;"><span class="css-901oao"><span lang="EN">he Good Old Days of Classic Hollywood: <a href="https://crystalkalyana.wordpress.com/2022/05/06/the-great-dispute-bette-davis-versus-warner-brothers/">The Great Dispute: Bette Davis Versus Warner Bros.</a><br /></span></span></span></p><p class="MsoNormal"><span style="font-size: medium;"><span class="css-901oao"><span lang="EN">Lady Eve's Reel Life: <a href="https://www.ladyevesreellife.com/2022/05/for-caftan-woman-blogathon-champagne.html">For the Caftan Woman Blogathon: Champagne for Caesar (1950) </a></span></span></span></p><p class="MsoNormal"><span style="font-size: medium;"><span class="css-901oao"><span lang="EN">Laura's Miscellaneous Musings: <a href="http://laurasmiscmusings.blogspot.com/2022/05/tonights-movie-has-anybody-seen-my-gal.html ">Has Anybody Seen My Gal? (1952) </a><br /></span></span></span></p><p class="MsoNormal"><span style="font-size: medium;"><span class="css-901oao"><span lang="EN">Let Yourself Go...To Old Hollywood: <a href="https://pmbryant.typepad.com/letyourselfgo/2022/05/a-period-in-the-life-of-ida-lupino-as-television-director-1963-1964.html">A Period in the Life of Ida Lupino as Television Director: 1963 - 1964</a><br /></span></span></span></p><p class="MsoNormal"><span style="font-size: medium;"><span class="css-901oao"><span lang="EN"><span style="font-size: medium;"><span class="css-901oao"><span lang="EN">Make Mine Film Noir: <a href="http://makeminefilmnoir.blogspot.com/2022/05/in-honor-of-patricia-nolan-hall-film.html">In Honor of Patricia Nolan-Hall: The Film Noir Union Station (1950)</a></span></span></span></span></span></span></p><p class="MsoNormal"><span style="font-size: medium;"><span class="css-901oao"><span lang="EN"><span style="font-size: medium;"><span class="css-901oao"><span lang="EN">Moon in Gemini: <a href=" https://debravega.wordpress.com/2022/05/05/the-caftan-woman-blogathon-ride-the-high-country-1962/">Ride the High Country (1962)</a><br /></span></span></span></span></span></span></p><p class="MsoNormal"><span style="font-size: medium;"><span class="css-901oao"><span lang="EN"><span style="font-size: medium;"><span class="css-901oao"><span lang="EN">Movies Silently: <a href="https://moviessilently.com/2022/05/08/a-knight-of-the-trail-1915-a-silent-film-review/">William S. Hart, A Knight of the Trail (1915)</a><br /></span></span></span></span></span></span></p><p class="MsoNormal"><span style="font-size: medium;"><span class="css-901oao"><span lang="EN"><span style="font-size: medium;"><span class="css-901oao"><span lang="EN">The Old Hollywood Garden:<a href="https://theoldhollywoodgarden.wordpress.com/2022/05/06/caftan-woman-blogathon-a-paddy-nolan-hall-tribute/"> Caftan Woman Blogathon: A Paddy Nolan-Hall Tribute</a><br /></span></span></span></span></span></span></p><p class="MsoNormal"><span style="font-size: medium;"><span class="css-901oao"><span lang="EN"><span style="font-size: medium;"><span class="css-901oao"><span lang="EN">Once Upon a Screen: <a href="https://aurorasginjoint.com/2022/05/02/remembering-caftan-woman-and-her-words/">Remembering Caftan Woman and Her Words</a> <br /></span></span></span></span></span></span></p><p class="MsoNormal"><span style="font-size: medium;"><span class="css-901oao"><span lang="EN"><span style="font-size: medium;"><span class="css-901oao"><span lang="EN">Outspoken & Freckled: <a href="https://kelleepratt.com/2022/05/06/a-sunny-tribute-the-glass-bottom-boat-1966/">A Sunny Tribute...The Glass Bottom Boat (1966)</a> </span></span></span> <br /></span></span></span></p><span style="font-size: medium;"></span><p class="MsoNormal"><span style="font-size: medium;"><span class="css-901oao"><span lang="EN">A Person in the Dark: <a href=" https://flickchick1953.blogspot.com/2022/05/the-binding-ties-made-of-film.html">The Binding Ties Made of Film: Remembering the Caftan Woman</a><br /></span></span></span></p><p class="MsoNormal"><span style="font-size: medium;"><span class="css-901oao"><span lang="EN">Realweegiemidget Reviews: <a href="https://weegiemidget.wordpress.com/remembrances/remembrances-2022/caftan-woman/">Still Adoring an Always Entertaining Blogging Friend Patricia Nolan-Hall, the Caftan Woman</a><br /></span></span></span></p><p class="MsoNormal"><span style="font-size: medium;"><span class="css-901oao"><span lang="EN">Rick's Real/Reel Life: <a href="https://ricksrealreel.blogspot.com/2022/05/joan-crawford-wows-as-one-of-women.html">Joan Crawford Wows as One of 'The Women'</a><br /></span></span></span></p><p class="MsoNormal"><span style="font-size: medium;"><span class="css-901oao"><span lang="EN"></span></span></span></p><p class="MsoNormal"><span style="font-size: medium;"><span class="css-901oao"><span lang="EN">Shadows and Satin: <a href="https://shadowsandsatin.wordpress.com/2022/05/06/the-caftan-woman-blogathon-man-of-the-west-1958/">The Caftan Woman Blogathon: Man of the West (1958)</a><br /></span></span></span></p><span style="font-size: medium;"></span><p class="MsoNormal"><span style="font-size: medium;"><span class="css-901oao"><span lang="EN">A Shroud of Thoughts: <a href="https://mercurie.blogspot.com/2022/05/perry-mason-case-of-final-fade-out.html">Perry Mason: "The Case of the Final Fade-Out" </a></span></span></span></p><p class="MsoNormal"><span style="font-size: medium;"><span class="css-901oao"><span lang="EN">Silent-ology: <a href="https://silentology.wordpress.com/2022/05/06/a-salute-to-silent-film-actors-with-crazy-long-filmographies/">A Salute to Silent Film Actors with Crazy Long Filmographies</a><br /></span></span></span></p><p class="MsoNormal"><span style="font-size: medium;"><span class="css-901oao"><span lang="EN">Silver Screen Modes: <a href="http://silverscreenmodes.com/treasure-island-from-page-to-screen-to-cable/">Treasure Island: From Page to Screen to Cable</a><a href="http://silverscreenmodes.com/treasure-island-from-page-to-screen-to-cable/"> </a></span></span></span></p><p class="MsoNormal"><span style="font-size: medium;"><span class="css-901oao"><span lang="EN">Silver Screenings: <a href="https://silverscreenings.org/2022/05/04/loss-and-hope-in-a-secret-garden/">The Secret Garden (1949)</a></span></span></span></p><p class="MsoNormal"><span style="font-size: medium;"><span class="css-901oao"><span lang="EN">Speakeasy: <a href="https://hqofk.wordpress.com/2022/05/06/the-caftan-woman-blogathon-honoring-patricia-nolan-hall/">The Caftan Woman Blogathon - Honoring Patricia Nolan-Hall</a><br /></span></span></span></p><p class="MsoNormal"><span style="font-size: medium;"><span class="css-901oao"><span lang="EN">Spellbound with Beth Ann: <a href="https://spellboundwithbethann.com/2022/05/06/sisters-a-remembrance-of-patricia-nolan-hall/">Sisters: A Remembrance of Patricia Nolan-Hall</a><br /></span></span></span></p><p class="MsoNormal"><span style="font-size: medium;"><span class="css-901oao"><span lang="EN">The Stop Button: <a href="https://thestopbutton.com/2022/05/06/ball-of-fire-1941/">Ball of Fire (1941, Howard Hawks)</a></span></span></span></p><p class="MsoNormal"><span style="font-size: medium;"><span class="css-901oao"><span lang="EN">Taking Up Room: <a href="https://takinguproom.wordpress.com/2022/05/06/the-patsy/">Paddy Lee and 'The Patsy'</a><br /></span></span></span></p><span style="font-size: medium;"><span class="css-901oao"><span lang="EN">Vienna's Classic Hollywood: <a href="https://viennasclassichollywood.com/2022/05/05/the-caftan-woman-blogathon-honoring-patrica-nolan-hall/">Paul Lukas </a></span></span></span><p class="MsoNormal"><span style="font-size: medium;"><span> Many thanks to all who joined in this tribute, a labor of love, for Paddy.<br /></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgA2Ex8-IkRdT9kZDApTmGxJ1j5CP0MvMQXqRCsCN4LnnZcqrDHVpA5ayh90A8qnr4TuVYDpbqF_r3kfFeCEGmCkvn2xbEpIF3BPFP0z49fqf99-BZeb1zineXicuClI84XaUGTC9l3uKTUvdabDigAmRFhIHtEm-Pi06F592eP9q68nnRJ0F6eaFmg/s267/2022%20CW2.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="176" data-original-width="267" height="212" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgA2Ex8-IkRdT9kZDApTmGxJ1j5CP0MvMQXqRCsCN4LnnZcqrDHVpA5ayh90A8qnr4TuVYDpbqF_r3kfFeCEGmCkvn2xbEpIF3BPFP0z49fqf99-BZeb1zineXicuClI84XaUGTC9l3uKTUvdabDigAmRFhIHtEm-Pi06F592eP9q68nnRJ0F6eaFmg/w321-h212/2022%20CW2.jpg" width="321" /></a></span></span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><span> </span></span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><span><b>Many thanks to the members of the Classic Movie Blog Association for voting this event the Best Movie Blog Event of 2022.</b></span></span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><span><b> </b><br /></span><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgg1cmjSrWYZDC4LUYpP5tKhmCdbz_IMqauKi4uv7LgsY933lDTH7BMgldQlwAg6BMTpOa14yoEL9IqKGgmjE0PMutw62b_huBAjIwJ5v6qIzLPVpWSLeVqZWyPv0fJ1jvvEPkQDr8WFNxne3kt7yUpKYoZz_2meukowYuXDBUCENuSMuv9yw7PeLDc/s482/CMBA%20Awards_Best%20Blog%20Event%202022.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="482" data-original-width="344" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgg1cmjSrWYZDC4LUYpP5tKhmCdbz_IMqauKi4uv7LgsY933lDTH7BMgldQlwAg6BMTpOa14yoEL9IqKGgmjE0PMutw62b_huBAjIwJ5v6qIzLPVpWSLeVqZWyPv0fJ1jvvEPkQDr8WFNxne3kt7yUpKYoZz_2meukowYuXDBUCENuSMuv9yw7PeLDc/s320/CMBA%20Awards_Best%20Blog%20Event%202022.jpg" width="228" /></a></div><br /></span></div><span style="font-size: medium;"><span><br /></span></span>The Lady Evehttp://www.blogger.com/profile/11963115499930520653noreply@blogger.com24tag:blogger.com,1999:blog-8509825018139758536.post-14924384168585663992022-05-05T14:00:00.011-07:002022-09-26T09:07:48.033-07:00For the Caftan Woman Blogathon: Champagne for Caesar (1950)<p><span style="font-size: medium;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEicY2rUalfg_riTPHn1GQa-DGyBL6xHsNb8svb2YVLoZUDox4P_wbwayJLSQfC9iBdVY9oSd7U9i8rfL1j3kWR8K6wkU8Nn5NiJVLlP_Xny7vSqcwjvp_rrKZK7SJmleH6D-BM5hawHMjrBOMnK4JPuD8aTbaCPKMrLjUOfQ67LiD7kReUkPhIBlVp0/s640/2022%20Caesar%201.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="486" data-original-width="640" height="384" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEicY2rUalfg_riTPHn1GQa-DGyBL6xHsNb8svb2YVLoZUDox4P_wbwayJLSQfC9iBdVY9oSd7U9i8rfL1j3kWR8K6wkU8Nn5NiJVLlP_Xny7vSqcwjvp_rrKZK7SJmleH6D-BM5hawHMjrBOMnK4JPuD8aTbaCPKMrLjUOfQ67LiD7kReUkPhIBlVp0/w506-h384/2022%20Caesar%201.jpg" width="506" /></a></span></div><p><span style="font-size: medium;"><br />In memory of our friend and world class classic film lover and blogger, Paddy, we gather to celebrate her with this, our<i> Caftan Woman Blogathon: Honoring Patricia Nolan-Hall</i>. <a href="https://www.ladyevesreellife.com/2022/05/the-caftan-woman-blogathon.html"><b>Click here</b></a> for links to all participating blogs.</span></p><p style="text-align: center;"><span style="font-size: medium;">~<span></span><br /></span><span></span></p><a name='more'></a><p></p><p></p><p><span style="font-size: medium;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgzAFpcA48wSnPQxeVhH_yyCkQslBd9T4tx0OKOjWDGMb5F0gDAqOjro2KIyOxNku2S-7QTH9tGYMYPGZuw9bcjrzh46abIn48qLjefzDEve67JsYWxqyo3tSRL5Zyn4gzxgIVuwtEJ2j6FQYXWqxmpyWoBEx_p6JcplID2H1nN5OWRz57hW1qqJ229/s196/2022%20CW.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="196" data-original-width="196" height="196" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgzAFpcA48wSnPQxeVhH_yyCkQslBd9T4tx0OKOjWDGMb5F0gDAqOjro2KIyOxNku2S-7QTH9tGYMYPGZuw9bcjrzh46abIn48qLjefzDEve67JsYWxqyo3tSRL5Zyn4gzxgIVuwtEJ2j6FQYXWqxmpyWoBEx_p6JcplID2H1nN5OWRz57hW1qqJ229/s1600/2022%20CW.jpg" width="196" /></a></span></div><span style="font-size: medium;">I don't know exactly when Paddy and I first virtually met, but it must've been about ten years ago through the Classic Movie Blog Association. What I remember more clearly is my reaction to her blog name, Caftan Woman, and the tagline under the pink-cheeked caricature of Paddy on her blog header, "Faster than a speeding scooter! Able to leap tall dust bunnies in a single bound! Cozily clad film fan with a blog." Disarmed and charmed by her gentle whimsy was I, and that was before I'd read a word she'd written on classic film.</span><p></p><p><span style="font-size: medium;">As for her blog posts, I quickly learned that Paddy's interests were vast and varied, and it wasn't uncommon for my comments on her reviews to run along the lines of, "I haven't seen this in years, you remind me it's time to revisit" or "I haven't seen this, now I'll search it out." But there was the time she posted on a film I not only hadn't seen but that was also completely unknown to me. And it was a film I felt I <i>should've</i> known about, the 1950 comedy <i>Champagne for Caesar</i>. Not long ago, as I once commented on Paddy's blog that I would, I found the film - on the Internet Archive (<a href="https://archive.org/details/ChampagneforCaesar_201512">https://archive.org/details/ChampagneforCaesar_201512</a>) - and watched it for the first time.</span></p><p><span style="font-size: medium;">Originally, I was surprised I hadn't heard of <i>Champagne for Caesar</i> mostly because of its players; it seemed to me that I should know of any film with these folks in the cast. <i>Caesar</i> stars Ronald Colman, a favorite of mine since a first childhood viewing of <i>A Tale of Two Cities</i>, and whom Paddy described in his <i>Caesar</i> role, "As always...perfect." Co-starring are Vincent Price (delivering, in Paddy's words, a "mad and hysterical performance") and Celeste Holm as femme fatale Flame O'Neill (Paddy: "What a name! What a woman!"). Equally interesting, the film's spoofing of soap-sponsored quiz shows and their hosts, classic character types (tycoon, intellectual, man-trap) and new-fangled, mid-century time-saving gadgets and gizmos.</span></p><p><span style="font-size: medium;">Beauregard Bottomley (Colman) is an unemployed intellectual living with his piano teacher sister (Barbara Britton) in one of those vintage bungalow court apartments that were at one time scattered throughout Los Angeles (also seen in <i>In a Lonely Place, The Grifters</i>, etc.). As ever, Colman's character is urbane and and quietly dashing. Bottomley is also quite arrogant about his intellect and knowledge, though he admittedly hasn't managed to master "how to make a buck" yet. <br /></span></p><p><span style="font-size: medium;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3R_i1CC_h-PDbwtRtuaBSiOWlpfDrJ_yc9BKqAPDEVhNBgX1tuKLjerCUshO_jhvXGmf20DDqwmoqF94KPLgMvfoShusXrp2EoEyvZ41ctGlkNiSp_AEAlAkVD0WXercQ-K771E6dMJOHIjsP5mxuFnN23JMDCu9VC-WTqcczKrpG-RBv1jLahcii/s450/2022%20Caesar%203.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="364" data-original-width="450" height="259" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3R_i1CC_h-PDbwtRtuaBSiOWlpfDrJ_yc9BKqAPDEVhNBgX1tuKLjerCUshO_jhvXGmf20DDqwmoqF94KPLgMvfoShusXrp2EoEyvZ41ctGlkNiSp_AEAlAkVD0WXercQ-K771E6dMJOHIjsP5mxuFnN23JMDCu9VC-WTqcczKrpG-RBv1jLahcii/s320/2022%20Caesar%203.jpg" width="320" /></a></span></div><span style="font-size: medium;">The story takes off when Beauregard and sister Gwenn go for a walk and happen upon a TV set in the window of a nearby store. A large crowd has gathered outside to watch the quiz show "Masquerade for Money," a game for which contestants dress in costumes (i.e., Cleopatra) and compete for money by answering questions about the person/thing their costume represents. Beauregard is appalled at this tacky spectacle, foreseeing the decline of civilization in such lowbrow fare, but Gwenn appreciates the fun in it and finds the game show host, Art Linkletter as Happy Hogan, appealing.</span><p></p><p><span style="font-size: medium;">Shortly, job-poor Beauregard is sent by the state employment agency on an interview for a research position with Milady Soap, coincidentally the sponsor of "Masquerade for Money." While waiting to interview with the CEO, Beauregard prowls the waiting area, a room that seems a slightly less manic black-and-white precursor to <i>PeeWee's Playhouse</i> for, as Paddy remarked in her review, the place "looks as if Dr. Seuss was hired as interior designer." As it turns out, the decor reflects the head of the company, Burnbridge Waters (Price), an eccentric oddball who imagines himself a genius and doesn't hesitate to say so - often. Genteel Beauregard and overbearing Burnbridge, who is dismissive of intellectuals and "dreamers," naturally do not hit it off and this sets Mr. Bottomley on a path to take his revenge on the man and his company via "Masquerade for Money."</span></p><p><span style="font-size: medium;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggzH0GoQYZZHEYwQ7PlKJhl6mCtzIbbDwMIiSj8DSSBISHKYVc6KCJGZSVhuUxuNsU-xuVAmVya4m9936dHK9iKqZmiwA4Gm2zHqjCESE7ZdPYiBvbe-sO-qgu3qT_rBxdsEJnUsVIIp_-ytkJSBcKqGyxnSwrg4RuwHZwpHVbo90LGdFD7JL69lB2/s640/2022%20Caesar%202.png" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="488" data-original-width="640" height="244" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggzH0GoQYZZHEYwQ7PlKJhl6mCtzIbbDwMIiSj8DSSBISHKYVc6KCJGZSVhuUxuNsU-xuVAmVya4m9936dHK9iKqZmiwA4Gm2zHqjCESE7ZdPYiBvbe-sO-qgu3qT_rBxdsEJnUsVIIp_-ytkJSBcKqGyxnSwrg4RuwHZwpHVbo90LGdFD7JL69lB2/s320/2022%20Caesar%202.png" width="320" /></a></span></div><span style="font-size: medium;">And so, Beauregard Bottomley appears as a guest on the quiz show costumed as an encyclopedia and, when not trading barbs with the program's smarmy host, correctly answers question after question after question - and refuses to leave the program when he has hit the prize money limit ($160). Beauregard's scheme is to win every cent of Milady Soap's money and thereby kill two birds with one stone: make a vault full of money for himself and bankrupt Burnbridge Waters' company. When the soap company's attempts to toss Beauregard off the show fail, Burnbridge resorts to what he believes is a fail-safe solution, sending in irresistible and brainy Flame O'Neill (Holm) to seduce and utterly befuddle Mr. Bottomley once and for all. </span><p></p><p><span style="font-size: medium;">While the send up of quiz shows, character types and mid-century geegaws is prescient and amusing, it is the performances that shine in <i>Champagne for Caesar. </i>Ronald Colman is indeed perfect as scholarly Beauregard Bottomley. In what could have been an insufferable role, Colman is a winning protagonist, with much credit going to his low-key dapper grace and that famously rich "velvet" voice of his. Vincent Price has a field day as an out-of-touch, over-the-top CEO, and it isn't much of a leap from Burnbridge Waters to what became Price's later specialty, a series of wildly camp turns for Roger Corman and others. And then there's Celeste Holm, best known for the calm, cool, collected ladies in supporting roles she usually portrayed. As "Flame," Holm has a chance to have some fun and plays the vampy part of a whip-smart seductress to the hilt. One wishes she'd broken type more often.</span></p><p><span style="font-size: medium;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEQ6wz4FGZgeRCsAeJpVHBh8dzn4yGfVHIRhNujSbX2giGp0nW2Lc6jU6k09US14GTtGAcWBBqQY66nlqx4_iBS0sYcRpAGc5QQHXuKOllreuq7HN_YKUkcyrGkf1pRftSiUvuSofjQ8OPYlxTMo1kLEUWQKBCaZnf9353CyHvgimvkx-NIrMJYNmr/s873/2022%20Caesar%206.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="873" data-original-width="736" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEQ6wz4FGZgeRCsAeJpVHBh8dzn4yGfVHIRhNujSbX2giGp0nW2Lc6jU6k09US14GTtGAcWBBqQY66nlqx4_iBS0sYcRpAGc5QQHXuKOllreuq7HN_YKUkcyrGkf1pRftSiUvuSofjQ8OPYlxTMo1kLEUWQKBCaZnf9353CyHvgimvkx-NIrMJYNmr/s320/2022%20Caesar%206.jpg" width="270" /></a></span></div><span style="font-size: medium;">It's not Lubitsch and it's not Sturges, but <i>Champagne for Caesar</i>, directed by Richard Whorf, is a well-cast, amiable light satire from a moment of relative innocence - the time before scandal. For those who don't remember or aren't aware of the scandals, Robert Redford's <i>Quiz Show </i>(1994) revisits the most memorable of them, the late '50s revelation that the popular primetime TV quiz program, <i>Twenty-One</i>, was rigged and that its celebrated winner, handsome Columbia University professor Charles Van Doren (Ralph Fiennes) - very much a Beauregard Bottomley type, had cheated. This was something <i>Champagne for Caesar</i> did not foresee and perhaps could not, for Beauregard, who knew everything, would never resort to cheating.</span><p></p><p><span style="font-size: medium;">Oops...I nearly forgot about the Caesar of the title. Caesar is a parrot Beauregard found in the street and brought home. The bird's previous owner taught him foul language and a liking for liquor. Voice wizard Mel Blanc (Bugs Bunny, Daffy Duck, et al) provided Caesar's blasphemous outbursts. It may not have been a big part for the parrot, but, still, it was the title role...</span></p><p style="text-align: center;"><span style="font-size: medium;">~</span></p><p style="text-align: left;"><span style="font-size: medium;">Thanks to all who are participating in this blogathon tribute to Paddy. As all who knew her will agree, she was - and is - much beloved and is terribly missed. Please visit her blog <a href="https://www.caftanwoman.com/"><b>here</b></a>, delight guaranteed.<br /></span></p><p style="text-align: left;"><span style="font-size: medium;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8Wv2qQfol6_0s7iGc1uDR81-HxO82LwktkbF-2AjvDB1yYnDpX8ZBC4fAePkhnr1CCW77uq6JY4Cwtk_g8YLgeuOH3mIt9rjR4noZeb-nmW5ct46eAKoVwy9BZy90KbkopK_zwP6yGB-NC1zJde7zmCW2b1nhTgNwvlHhowKdVIWjB5i8rqDo5NOp/s1529/Caftan%20Woman%20Blogathon%202022%20patterns.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1144" data-original-width="1529" height="290" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8Wv2qQfol6_0s7iGc1uDR81-HxO82LwktkbF-2AjvDB1yYnDpX8ZBC4fAePkhnr1CCW77uq6JY4Cwtk_g8YLgeuOH3mIt9rjR4noZeb-nmW5ct46eAKoVwy9BZy90KbkopK_zwP6yGB-NC1zJde7zmCW2b1nhTgNwvlHhowKdVIWjB5i8rqDo5NOp/w388-h290/Caftan%20Woman%20Blogathon%202022%20patterns.jpg" width="388" /></a></span></div><span style="font-size: medium;"> </span><span style="font-size: medium;"><br /></span><br /><p><span style="font-size: medium;"> </span></p>The Lady Evehttp://www.blogger.com/profile/11963115499930520653noreply@blogger.com26tag:blogger.com,1999:blog-8509825018139758536.post-62755106943912936542022-03-31T02:00:00.050-07:002022-05-06T23:38:18.057-07:00THE CAFTAN WOMAN BLOGATHON - HONORING PATRICIA NOLAN-HALL<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8tEypXBqtcHvruTQruGJ-4sPc_sG5v0TTAUR8CqjlfgNJq1joKjd-T7VXc_JCDFOV2cWv-M5rsW5dKdRd-gFICP8jQKZOzmLmIddBABcDtOBs0DGcMq7QiyQBYC4fnAectyMcRW9NQUEPoV7dkSQvuffc2-kAoeLR-f_YUpJyXF0DF-Chl7Znua4o/s640/2022%20Paddy.png" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="632" data-original-width="640" height="369" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8tEypXBqtcHvruTQruGJ-4sPc_sG5v0TTAUR8CqjlfgNJq1joKjd-T7VXc_JCDFOV2cWv-M5rsW5dKdRd-gFICP8jQKZOzmLmIddBABcDtOBs0DGcMq7QiyQBYC4fnAectyMcRW9NQUEPoV7dkSQvuffc2-kAoeLR-f_YUpJyXF0DF-Chl7Znua4o/w374-h369/2022%20Paddy.png" width="374" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Patricia Nolan-Hall<br /></td></tr></tbody></table><p class="MsoNormal"><span style="font-size: medium;"><b><i>The Caftan Woman Blogathon – Honoring Patricia Nolan-Hall</i></b>
will be hosted here at <a href="http://www.ladyevesreellife.com/"><i>Lady Eve’s Reel Life</i></a> and </span><span style="font-size: medium;"><span style="font-size: medium;">at Jacqueline's <a href="https://anotheroldmovieblog.blogspot.com/"><i>Another Old Movie Blog</i></a> </span>on Friday, May 6<sup>th</sup>.</span></p><p class="MsoNormal"><span style="font-size: medium;">On March 7<sup>th</sup>, the classic film blogger world lost
one of its great writers and champions of classic film, Patricia Nolan-Hall,
also known as Caftan Woman, the name of her delightful blog.<span> </span>You can visit her blog <a href="https://www.caftanwoman.com/"><span style="color: #cc0000;">here</span>.</a> </span></p><p class="MsoNormal"><span style="font-size: medium;">Paddy was very supportive of other bloggers, and eagerly
contributed to many blogathons, always graciously commenting on the posts of
others.<span> </span>It seems fitting to celebrate
her time with us with a special blogathon in her honor.<span></span><span></span></span></p><a name='more'></a><p></p><p class="MsoNormal"><span style="font-size: medium;">Here’s a banner to post on your blog to advertise the
blogathon. (The photo of Paddy is courtesy of her sister, Maureen Nolan, used
by permission.)</span></p><p class="MsoNormal"><span style="font-size: medium;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjr0PcnqylcZLsnx1Z8kJZVDzStbnPkyY_dMPJggBWMO2LqEOf0PC0v4LOsenaXgPt-aPiM7mJXNGEPJ410UhL9aI9f1Ekku0GgSuycBrEEUcDfcPeaA4EEpefw2zg_smCYsi4ZOYjxmZHUCKzqvPZOCzhdw--QBM_enSS7q-GaIJkoTt1BdD7a0Tdu/s1529/Caftan%20Woman%20Blogathon%202022%20patterns.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1144" data-original-width="1529" height="268" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjr0PcnqylcZLsnx1Z8kJZVDzStbnPkyY_dMPJggBWMO2LqEOf0PC0v4LOsenaXgPt-aPiM7mJXNGEPJ410UhL9aI9f1Ekku0GgSuycBrEEUcDfcPeaA4EEpefw2zg_smCYsi4ZOYjxmZHUCKzqvPZOCzhdw--QBM_enSS7q-GaIJkoTt1BdD7a0Tdu/w359-h268/Caftan%20Woman%20Blogathon%202022%20patterns.jpg" width="359" /></a></span></div><span style="font-size: medium;">The range of topics on which to write is wide open, since
Paddy’s interest and knowledge of pop culture was quite broad.<span> </span>You might post on a movie or TV show she
liked and wrote about, a genre you both loved, or about any topic she discussed
on her blog (it wasn’t always about TV or movies), or about a comment she might
have left on your own blog. Or you may post on any music, TV, or films from the
silent film era through the 1960s, or spotlight stars or character actors from
those decades.<span> </span>Share your memories, the
laughs, and the inspiration of this witty and kindly woman.</span><p></p><p class="MsoNormal"><span style="font-size: medium;">You can name your topic by leaving a comment on this
post.<span> </span>A blogathon page with all the
entries will be posted at <i>Another Old Movie Blog</i> and <i>Lady Eve’s Reel
Life</i> on Friday, May 6<sup>th</sup>.<span>
</span>When you publish your post, link back to that page and leave a comment
with your link so we can update the roster.</span></p><p class="MsoNormal"><span style="font-size: medium;">Be sure to visit each other’s posts and comment.<span> </span>You know Paddy would.</span></p><p class="MsoNormal"><span style="font-size: medium;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0qMPmKYHXaqyQms3uH0Ux3IgPEu6xIO2km-gzk_ZuePyWrRh0EuRG67mFAgifrzzbCZmDAXKDatUAvsGIOthbdyC9-Pf1KebqAAhGCm6VFmtFtjyPONTvdAKId6MfaA8PIG5dtMfXjdM7OkcizyjiXAu9ki39GRD9ztpcJaLCwc4S6ZdG9CPugEWb/s267/2022%20CW2.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="176" data-original-width="267" height="176" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0qMPmKYHXaqyQms3uH0Ux3IgPEu6xIO2km-gzk_ZuePyWrRh0EuRG67mFAgifrzzbCZmDAXKDatUAvsGIOthbdyC9-Pf1KebqAAhGCm6VFmtFtjyPONTvdAKId6MfaA8PIG5dtMfXjdM7OkcizyjiXAu9ki39GRD9ztpcJaLCwc4S6ZdG9CPugEWb/s1600/2022%20CW2.jpg" width="267" /></a></span></div><p><span style="font-size: medium;"></span></p><p><span style="font-size: medium;"><u>Participants</u>:</span></p><!--[if gte mso 9]><xml>
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Block Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Hyperlink"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="FollowedHyperlink"/>
<w:LsdException Locked="false" Priority="22" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Document Map"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Plain Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="E-mail Signature"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Top of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Bottom of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal (Web)"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Acronym"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Address"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Cite"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Code"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Definition"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Keyboard"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Preformatted"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Sample"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Typewriter"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Variable"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal Table"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="annotation subject"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="No List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Contemporary"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Elegant"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Professional"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Balloon Text"/>
<w:LsdException Locked="false" Priority="39" Name="Table Grid"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Theme"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" QFormat="true"
Name="List Paragraph"/>
<w:LsdException Locked="false" Priority="29" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" QFormat="true"
Name="Intense Quote"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 2"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 3"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 3"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 3"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 3"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 3"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 3"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
Name="Subtle Emphasis"/>
<w:LsdException Locked="false" Priority="21" QFormat="true"
Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" QFormat="true"
Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" QFormat="true"
Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
UnhideWhenUsed="true" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
<w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="Grid Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 5"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 5"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 5"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 5"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 5"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 6"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 6"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 6"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 6"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 6"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="46" Name="List Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="List Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="List Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 5"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 5"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 5"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 5"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 5"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 6"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 6"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 6"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 6"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 6"/>
<w:LsdException Locked="false" Priority="51"
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<p class="MsoNormal"><span style="font-size: medium;"><span class="css-901oao"><span lang="EN">18 Cinema Lane: The Song of Bernadette (1943) <br /></span></span></span></p><p class="MsoNormal"><span style="font-size: medium;"><span class="css-901oao"><span lang="EN">Another Old Movie Blog: The Case of Charlie Chan and The Caftan Woman</span></span></span></p><p class="MsoNormal"><span style="font-size: medium;"><span class="css-901oao"><span lang="EN">By Rich Watson: <a href="https://byrichwatson.blogspot.com/2022/05/saturday-night-at-movies-connected.html">"Saturday Night at the Movies" Connected Canadian Viewers to Classic Cinema</a><br /></span></span></span></p><p class="MsoNormal"><span style="font-size: medium;"><span class="css-901oao"><span lang="EN">Classic Film Observations & Obsessions: Part II of The Carey Family in the John Ford Western Universe </span></span></span></p><p class="MsoNormal"><span style="font-size: medium;"><span class="css-901oao"><span lang="EN">Critica Retro: Fitzwilly (1967)<br /></span></span></span></p><p class="MsoNormal"><span style="font-size: medium;"><span class="css-901oao"><span lang="EN">Dubsism: Caftan Woman's Sports Education: A Prime Example of Her support for Bloggers</span></span></span></p><p class="MsoNormal"><span style="font-size: medium;"><span class="css-901oao"><span lang="EN"></span></span></span></p><p class="MsoNormal"><span style="font-size: medium;"><span class="css-901oao"><span lang="EN">Hometowns to Hollywood: Betty Grable's Hometown</span></span></span></p><p class="MsoNormal"><span style="font-size: medium;"><span class="css-901oao"><span lang="EN">In the Good Old Days of Classic Hollywood: The Proud Rebel (1958)</span></span></span></p><p class="MsoNormal"><span style="font-size: medium;"><span class="css-901oao"><span lang="EN">Lady Eve's Reel Life: Champagne for Caesar (1950) </span></span></span></p><p class="MsoNormal"><span style="font-size: medium;"><span class="css-901oao"><span lang="EN">Laura's Miscellaneous Musings: Has Anybody Seen My Gal? (1952) <br /></span></span></span></p><p class="MsoNormal"><span style="font-size: medium;"><span class="css-901oao"><span lang="EN">Let Yourself Go...To Old Hollywood: Ida Lupino, TBD <br /></span></span></span></p><p class="MsoNormal"><span style="font-size: medium;"><span class="css-901oao"><span lang="EN"><span style="font-size: medium;"><span class="css-901oao"><span lang="EN">Make Mine Film Noir: Union Station (1950)</span></span></span></span></span></span></p><p class="MsoNormal"><span style="font-size: medium;"><span class="css-901oao"><span lang="EN"><span style="font-size: medium;"><span class="css-901oao"><span lang="EN">Moon in Gemini: Ride the High Country (1962)<br /></span></span></span></span></span></span></p><p class="MsoNormal"><span style="font-size: medium;"><span class="css-901oao"><span lang="EN"><span style="font-size: medium;"><span class="css-901oao"><span lang="EN">Movies Silently: William S. Hart, TBD</span></span></span></span></span></span></p><p class="MsoNormal"><span style="font-size: medium;"><span class="css-901oao"><span lang="EN"><span style="font-size: medium;"><span class="css-901oao"><span lang="EN">The Old Hollywood Garden: Paddy Nolan-Hall's Impact<br /></span></span></span></span></span></span></p><p class="MsoNormal"><span style="font-size: medium;"><span class="css-901oao"><span lang="EN"><span style="font-size: medium;"><span class="css-901oao"><span lang="EN">Once Upon a Screen: <a href="https://aurorasginjoint.com/2022/05/02/remembering-caftan-woman-and-her-words/">Remembering Caftan Woman and Her Words</a> <br /></span></span></span></span></span></span></p><p class="MsoNormal"><span style="font-size: medium;"><span class="css-901oao"><span lang="EN"><span style="font-size: medium;"><span class="css-901oao"><span lang="EN">Outspoken & Freckled: The Glass Bottom Boat (1966) </span></span></span> <br /></span></span></span></p><p class="MsoNormal"><span style="font-size: medium;"><span class="css-901oao"><span lang="EN">Pale Writer: Our Dancing Daughters (1928)</span></span></span></p><p class="MsoNormal"><span style="font-size: medium;"><span class="css-901oao"><span lang="EN">Paula's Cinema Club: Powell & Pressburger<br /></span></span></span></p><span style="font-size: medium;">
</span><p class="MsoNormal"><span style="font-size: medium;"><span class="css-901oao"><span lang="EN">A Person in the Dark: The Binding Ties Made of Film</span></span></span></p><p class="MsoNormal"><span style="font-size: medium;"><span class="css-901oao"><span lang="EN">Realweegiemidget Reviews: <a href="https://weegiemidget.wordpress.com/remembrances/remembrances-2022/caftan-woman/">Still Adoring an Always Entertaining Blogging Friend Patricia Nolan-Hall, the Caftan Woman </a></span></span></span></p><p class="MsoNormal"><span style="font-size: medium;"><span class="css-901oao"><span lang="EN">Rick's Real/Reel Life: <a href="https://ricksrealreel.blogspot.com/2022/05/joan-crawford-wows-as-one-of-women.html">Joan Crawford Wows as One of 'The Women'</a> <br /></span></span></span></p><p class="MsoNormal"><span style="font-size: medium;"><span class="css-901oao"><span lang="EN"></span></span></span></p><p class="MsoNormal"><span style="font-size: medium;"><span class="css-901oao"><span lang="EN">Shadows and Satin: Man of the West (1958)<br /></span></span></span></p><span style="font-size: medium;"></span><p class="MsoNormal"><span style="font-size: medium;"><span class="css-901oao"><span lang="EN">A Shroud of Thoughts: Perry Mason episode "The Case of the Final Fade-Out" </span></span></span></p><p class="MsoNormal"><span style="font-size: medium;"><span class="css-901oao"><span lang="EN">Silent-ology: Supporting Actors of the Silent Era <br /></span></span></span></p><p class="MsoNormal"><span style="font-size: medium;"><span class="css-901oao"><span lang="EN">Silver Screen Modes: Treasure Island: From Page to Screen to Cable </span></span></span></p><p class="MsoNormal"><span style="font-size: medium;"><span class="css-901oao"><span lang="EN">Silver Screenings: <a href="https://silverscreenings.org/2022/05/04/loss-and-hope-in-a-secret-garden/">The Secret Garden (1949)</a></span></span></span></p><p class="MsoNormal"><span style="font-size: medium;"><span class="css-901oao"><span lang="EN">Speakeasy: An Appreciation <br /></span></span></span></p><p class="MsoNormal"><span style="font-size: medium;"><span class="css-901oao"><span lang="EN">Spellbound with Beth Ann: TBD<br /></span></span></span></p><p class="MsoNormal"><span style="font-size: medium;"><span class="css-901oao"><span lang="EN">The Stop Button: Ball of Fire (1941)</span></span></span></p><p class="MsoNormal"><span style="font-size: medium;"><span class="css-901oao"><span lang="EN">Taking Up Room: The Patsy (1928)<br /></span></span></span></p><p class="MsoNormal"><span style="font-size: medium;"><span class="css-901oao"><span lang="EN">Vienna's Classic Hollywood: <a href="https://viennasclassichollywood.com/2022/05/05/the-caftan-woman-blogathon-honoring-patrica-nolan-hall/">Paul Lukas</a><br /></span></span></span></p><p></p>
The Lady Evehttp://www.blogger.com/profile/11963115499930520653noreply@blogger.com61tag:blogger.com,1999:blog-8509825018139758536.post-16179399709346953782022-03-06T14:03:00.019-08:002022-09-26T09:11:16.344-07:00Variations on a Genre: “Vehicular Noir” and “Noir on the Sea and in the Forest” ...<p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: inherit;"><span></span></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><span style="font-family: inherit;"><span><a href="https://blogger.googleusercontent.com/img/a/AVvXsEj14b59mMST22X28AdDI9b8bMtlid2jUkwMRSMMtvqcQUpLQqLYrEEv6HFcISl9buRHU_c4C6lP2HAnb1uEfSGCV0gBVJN-BB7NG28WR_wB20GJ2mReCMaaqBrJeJlIrc0dvf7I8HWTcKPcDTNBvC7IGNH8JUi9kfQrtXH8rmjZ_25tIQ1AaYbPla4Y=s1605" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1165" data-original-width="1605" height="353" src="https://blogger.googleusercontent.com/img/a/AVvXsEj14b59mMST22X28AdDI9b8bMtlid2jUkwMRSMMtvqcQUpLQqLYrEEv6HFcISl9buRHU_c4C6lP2HAnb1uEfSGCV0gBVJN-BB7NG28WR_wB20GJ2mReCMaaqBrJeJlIrc0dvf7I8HWTcKPcDTNBvC7IGNH8JUi9kfQrtXH8rmjZ_25tIQ1AaYbPla4Y=w486-h353" width="486" /></a></span></span></span></div><p></p><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: inherit;"><span>In this post, veteran noir programmer Don Malcolm considers the sub-genre implications of rare films
noir - from the US, Croatia and Germany - set to screen when Midcentury Madness '22 returns to San Francisco’s Roxie Theater on March 12 and 13.<span></span></span></span></span></p><a name='more'></a><p></p><span style="font-size: medium;"><span style="font-family: inherit;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: inherit;"><span>VEHICULAR NOIR <br /></span></span></span></p><span style="font-size: medium;"><span style="font-family: inherit;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: inherit;"><span>Looking over the long list of films noir screened by one-time
colleagues <b>Eddie
Muller</b> and <b>Elliot Lavine</b>, I was shocked to discover that the
1957 heist noir <b>PLUNDER ROAD</b> has never been shown by either of
those estimable individuals. (Eddie even had a entire festival devoted to heist
noirs back in 2017, with 24 films, but enigmatic director <b>Hubert
Cornfield</b>—as was so often the case for him—was on the outside
looking in. And he still is…) <br /></span></span></span></p><span style="font-size: medium;"><span style="font-family: inherit;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: inherit;"><span>Man used to live
by his wits; PLUNDER ROAD tells us that we’re now utterly dependent on our
machines for whatever crazy scheme that comes to mind… <br /></span></span></span></p><span style="font-size: medium;"><span style="font-family: inherit;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: inherit;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman";">That
unfathomable situation will be remedied on Saturday, March 12 when we’ll screen
it as we simultaneously christen a new noir sub-genre: “vehicular noir.” Some
of you might quibble with me that most noir is vehicular, given the ubiquity of
automobiles—and you wouldn’t be wrong. </span></span></span></p><span style="font-size: medium;"><span style="font-family: inherit;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: inherit;"><span>But
what I’m after is a more rarefied subgroup of films where the vehicles are
large and lumbering—a kind of metaphor for the existential state of the noir
hero, often caught up in grandiose schemes that are overly ambitious and
recklessly expansive. Trying to pull a caper in a big rig is like trying to
beat the system while wearing a blindfold AND having one hand tied behind your
back. <span></span></span></span></span></p><!--more--><p></p><span style="font-size: medium;"><span style="font-family: inherit;">
</span></span><p style="margin: 0in; mso-add-space: auto;"><span style="font-size: medium;"><span style="font-family: inherit;"><span style="color: #1a1a1a;"></span></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><span style="font-family: inherit;"><span style="color: #1a1a1a;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEiAjGcs70W0F2zpFzYfoXBNXNvQxL1Z6OsdqaBpnNglxMe43HTZgP1anwFk-g0EXza_yJRfIsev_gafsbC2SVm7RBvPtqTcR7Fx5FMl6Z9uK8VNvLxzW4xiVKq0XFU0RKIL9kCAgisFt_bSB0PcqWb_QyNTjIZx2eYpnsMPS6I-jbi9jv77uI1A_RSK=s1024" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1024" data-original-width="1024" height="356" src="https://blogger.googleusercontent.com/img/a/AVvXsEiAjGcs70W0F2zpFzYfoXBNXNvQxL1Z6OsdqaBpnNglxMe43HTZgP1anwFk-g0EXza_yJRfIsev_gafsbC2SVm7RBvPtqTcR7Fx5FMl6Z9uK8VNvLxzW4xiVKq0XFU0RKIL9kCAgisFt_bSB0PcqWb_QyNTjIZx2eYpnsMPS6I-jbi9jv77uI1A_RSK=w356-h356" width="356" /></a></span></span></span></div><p><span style="font-size: medium;"><span style="font-family: inherit;"><span>PLUNDER ROAD has all
that, and more. It features an elaborate, overly complex plan devised by
mastermind <b>Gene
Raymond</b>, who at this stage of things (both in Hollywood and in
real life) should really be old enough to know better. Not one, not two, but
THREE big rigs are part of a robbery netting $10 million in gold. And you know
already—from having seen the classic mug of <b>Elisha Cook, Jr.</b>
(above)—that his accomplices are probably not up to it.</span></span></span><span style="font-size: medium;"><span style="font-family: inherit;"><span> </span></span></span></p><p style="margin: 0in; mso-add-space: auto;"><span style="font-size: medium;"><span style="font-family: inherit;"><span>We won’t spoil the
fun by delving further into the plot, which is as lightweight and linear as the
heist vehicles are awkward and massive. Cornfield captures a specific tonality
of mid-century America that conjures up the romance and danger found in the
many miles of nowhere that men in big rigs still traverse to this day, with too
much time on their hands—time that allows them to dream up outlandish
get-rich-quick schemes as an addled antidote to white-line fever.</span></span></span></p><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: inherit;"><span>Cornfield’s ace in
the hole, so to speak, was his cinematographer <span style="color: #cc0000;"><b><a href="https://www.imdb.com/name/nm0005735/">Ernest Haller</a></b><span style="color: black;">,</span></span><span style="color: black;"> </span>a venerated
(six-time Oscar nominee) veteran who had been cut loose by Warner Brothers
earlier in the 50s due to the post-war studio system crisis. Haller, once
accused by a Warners director of being a “cosmetician’s cameraman” (but, then,
what would <b>you</b>
do if confronted with an aging <b>Bette Davis</b> or <b>Joan Crawford</b>?),
does an admirable <i>volte-face</i>
with PLUNDER ROAD, giving the bulk of his visual love to the creatures of metal
that dominate the film.</span></span></span></p><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: inherit;"><span>BUT “vehicular noir”
is not simply a variant of the heist film: it can also capture a special sense
of how vulnerable human beings are with respect to the machines they create and
rely upon to sustain modernity. The second feature on March 12th, <b>H-8…</b>
(1958, Croatia), directed by <b>Nikola Tanhofer</b>, takes us more deeply and
intensely into that realm of peril. <br /></span></span></span></p><span style="font-size: medium;"><span style="font-family: inherit;">
</span></span><p style="margin: 0in;"><span style="font-size: medium;"><span style="font-family: inherit;"><span style="color: #1a1a1a;"><span style="color: black;">Here again you might anticipate a bit and suggest
that there’s already another genre that covers this narrative territory: the
“disaster” film. But those films tend to have a superhuman scale attached to
them: ocean liners, airplanes, even trains are machines that essentially turn
human beings into cattle. The disasters that befall the people on these
contraptions are spectacles, not tragedies. </span><br /></span></span></span></p><span style="font-size: medium;"><span style="font-family: inherit;">
</span></span><p style="margin: 0in;"><span style="font-size: medium;"><span style="font-family: inherit;"><span style="color: #1a1a1a;"></span></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><span style="font-family: inherit;"><span style="color: #1a1a1a;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEiDOfl_cSkXbfYtxGBI4YsFmOkXVa7QT84JXK7Gp8c7klWcKj1sK9rpGHi0TAXDnb_Hy0EfMo0MdIVKLBqbOeZQtgpi8FBHYvAfxCa6jOJf-RJNCW1oTMFvpAFC5j2r6pE_-hKSN1-wTP1CGu4Vk26HrSfThoR7dhIQINw5hGb8lKpo45nQ8thXEXQv=s1024" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1024" data-original-width="1024" height="362" src="https://blogger.googleusercontent.com/img/a/AVvXsEiDOfl_cSkXbfYtxGBI4YsFmOkXVa7QT84JXK7Gp8c7klWcKj1sK9rpGHi0TAXDnb_Hy0EfMo0MdIVKLBqbOeZQtgpi8FBHYvAfxCa6jOJf-RJNCW1oTMFvpAFC5j2r6pE_-hKSN1-wTP1CGu4Vk26HrSfThoR7dhIQINw5hGb8lKpo45nQ8thXEXQv=w362-h362" width="362" /></a></span></span></span></div><p><span style="font-size: medium;"><span style="font-family: inherit;"><span>H-8… is the story of a night bus that, early on in
the film, is involved in a horrific collision with a truck (it’s clear from the
film’s perspective that the truck driver is totally at fault for what happens).
What director Tanhofer then does is turn back time to begin the story again,
focusing on the people who board the bus and their shifting positions in its
seating configuration. (As it turns out, a specific subset of the seats in the
bus wind up as fatal locations for those seated in them.)</span></span></span><span style="font-size: medium;"><span style="font-family: inherit;"><span> </span></span></span></p><p style="margin: 0in;"><span style="font-size: medium;"><span style="font-family: inherit;"><span>Thus the film focuses on the lives and personalities
of the passengers, the situations they are experiencing (and sometimes running
away from), providing us with a kaleidoscope of nocturnal neo-realism—and a
building intensity of suspense as the film’s narrator (who is, of course,
omniscient…) teases us with what he already knows.</span></span></span></p><p style="margin: 0in;"><span style="font-size: medium;"><span style="font-family: inherit;"><span> <br /></span></span></span></p><p style="margin: 0in;"><span style="font-size: medium;"><span style="font-family: inherit;"><span>NOIR ON THE SEA AND IN THE FOREST… </span></span></span></p><span style="font-size: medium;"><span style="font-family: inherit;">
</span></span><p style="margin: 0in;"><span style="font-size: medium;"><span style="font-family: inherit;"><span> </span></span></span></p><span style="font-size: medium;"><span style="font-family: inherit;">
</span></span><p style="margin: 0in;"><span style="font-size: medium;"><span style="font-family: inherit;"><span><span> </span>“Rubble
films,” made immediately after WWII, are known to many for their dark themes
and stark visuals featuring bombed-out ruins; but the historical consensus is
that once the 1950s arrived, German filmmaking steered itself into complacency,
with the </span><b><a href="https://histclo.com/the/movie/cou/ger/mger-heimat.html"><i><span>heimat</span></i></a></b><span> </span><span>films attempting to sidestep (if not outright bury) lingering issues
from the Nazi era. </span></span></span></p><p style="margin: 0in;"><span style="font-size: medium;"><span style="font-family: inherit;"><span style="color: #1a1a1a;"> </span></span></span></p><p style="margin: 0in;"><span style="font-size: medium;"><span style="font-family: inherit;"><span style="color: #1a1a1a;"></span></span></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEi9gskWoGdNq9nATl_XNy8wPcfljMolgO2IeaF9lOytI3-INJHspVV_LgtPWSPkm2aIluQZjgF-TFlc5E6YSWERcVA4qFe47FUZc7yTlzjkzJe3YLnv29n4q9EZohxzrJrarwPsc_W2kJJv5ac5E11ZG_RW4Su2xCTSSrfPGXKJnfi0wpU92b_aAoi3=s1356" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="764" data-original-width="1356" height="288" src="https://blogger.googleusercontent.com/img/a/AVvXsEi9gskWoGdNq9nATl_XNy8wPcfljMolgO2IeaF9lOytI3-INJHspVV_LgtPWSPkm2aIluQZjgF-TFlc5E6YSWERcVA4qFe47FUZc7yTlzjkzJe3YLnv29n4q9EZohxzrJrarwPsc_W2kJJv5ac5E11ZG_RW4Su2xCTSSrfPGXKJnfi0wpU92b_aAoi3=w512-h288" width="512" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">post-war "rubble" onscreen</td></tr></tbody></table><p><span style="font-size: medium;"><span style="font-family: inherit;"><span><span style="font-size: medium;"><span style="font-family: inherit;">Such began to change when expatriate directors such
as <b>Robert
Siodmak</b> returned to Germany after the war; <b>Eddie Muller</b>
referenced this in his 2020 festival with a screening of THE DEVIL STRIKES AT
NIGHT (1957), one of the first German films to directly address the Nazi era.</span></span></span></span></span><span style="font-size: medium;"><span style="font-family: inherit;"><span> </span></span></span></p><p style="margin: 0in;"><span style="font-size: medium;"><span style="font-family: inherit;"><span>BUT what we’ve discovered—thanks in part to our colleague
<b>Marc
Svetov</b>—is that the “noir impulse” still had a pulse in German
filmmaking prior to Siodmak’s return. Directors such as <b>Helmut
Käutner</b> and <b>Peter Pewas</b>, who had sidestepped/ wrangled with the
Nazi censors during the war, found their voices afterwards and moved from
“rubble films” in the late 40s to film noir in the fifties.</span></span></span></p><p style="margin: 0in;"><span style="font-size: medium;"><span style="font-family: inherit;"><span> <br /></span></span></span></p><span style="font-size: medium;"><span style="font-family: inherit;">
</span></span><p style="margin: 0in;"><span style="font-size: medium;"><span style="font-family: inherit;"><span>And, as you’ll see on March 13, both of them did so
with a vengeance.</span></span></span></p><span style="font-size: medium;"><span style="font-family: inherit;">
</span></span><p style="margin: 0in;"><span style="font-size: medium;"><span style="font-family: inherit;"><span style="color: #1a1a1a;"> </span></span></span></p><span style="font-size: medium;"><span style="font-family: inherit;">
</span></span><p style="margin: 0in;"><span style="font-size: medium;"><span style="font-family: inherit;"><span style="color: #1a1a1a;"></span></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><span style="font-family: inherit;"><span style="color: #1a1a1a;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEg_6YnLZ5VeCcemuiXvkZlTTtRK6Zx-DxWJIrND4U2lioeZJdw6L0q_aLRbokhth4iK_Q-ydVnZiWzkw_l7JN22FIWAxNdudFbUELDIxfMeHa_C-KKNxgGF-tAcv9TpLMtoqyhUYHUicoPkDTHedGgylUiQgRH3McqBE0l-27RCn3Nz4ThzLCm56Uwi=s456" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="456" data-original-width="352" height="362" src="https://blogger.googleusercontent.com/img/a/AVvXsEg_6YnLZ5VeCcemuiXvkZlTTtRK6Zx-DxWJIrND4U2lioeZJdw6L0q_aLRbokhth4iK_Q-ydVnZiWzkw_l7JN22FIWAxNdudFbUELDIxfMeHa_C-KKNxgGF-tAcv9TpLMtoqyhUYHUicoPkDTHedGgylUiQgRH3McqBE0l-27RCn3Nz4ThzLCm56Uwi=w280-h362" width="280" /></a></span></span></span></div><p style="margin: 0in;"><span style="font-size: medium;"><span style="font-family: inherit;"><span>Käutner’s EPILOG (1950), screening Sunday March 13, is
a fever-dream wrapped inside a series of <span> </span>mysteries centered around the sinking of the <i>Orplid</i>,
a luxury yacht rented by an arms dealer under strange circumstances—the wedding
of his mistress! As we soon discover, it turns out that there are much darker
forces afoot…</span></span></span></p><p style="margin: 0in;"><span style="font-size: medium;"><span style="font-family: inherit;"><span> </span></span></span></p><p style="margin: 0in;"><span style="font-size: medium;"><span style="font-family: inherit;"><span>Intrigued by the coverup of this event, reporter
Peter Zabel (<b>Horst
Caspar</b>) begins an obsessive quest to reconstruct what
happened—aided by the mysterious, Sphinx-like—indeed, mute—lone survivor of the
catastrophe, Leata (<b>Bettina Moissi</b>), whose drawings provide clues to
the sordid goings-on.</span></span></span></p><p style="margin: 0in;"><span style="font-size: medium;"><span style="font-family: inherit;"><span> </span></span></span></p><p style="margin: 0in;"><span style="font-size: medium;"><span style="font-family: inherit;"><span>Naturally there are clandestine forces that want to
prevent Zabel from bringing the full story to light, and EPILOG careens between
these narrative shards in a way that is both thrilling and baffling, using all
of the favored devices of film noir.</span></span></span></p><span style="font-size: medium;"><span style="font-family: inherit;">
</span></span><p style="margin: 0in;"><span style="font-size: medium;"><span style="font-family: inherit;"><span> </span></span></span></p><span style="font-size: medium;"><span style="font-family: inherit;">
</span></span><p style="margin: 0in;"><span style="font-size: medium;"><span style="font-family: inherit;">Film scholars and bloggers have known about EPILOG for quite a
while, yet the film has never been screened theatrically in the USA in the
seventy-two years since its release. Its long-overdue premiere on March 13 will
introduce you to one of the most fascinating female characters in all of noir
in Moissi’s Leata, who is even more enigmatic than the mystery of the <i>Orplid</i>
itself. Käutner provides us with a sly preview of an emerging “female gaze” in
the sloe-eyed, traumatized Leata, who embodies an inchoate “Other” attempting
to penetrate and disrupt a world that barely bothers to conceal its ugly and
unspeakable truths.</span></span></p><p style="margin: 0in;"><span style="font-size: medium;"><span style="font-family: inherit;"> </span></span></p><p style="margin: 0in;"><span style="font-size: medium;"><span style="font-family: inherit;">MANY PASSED BY, the second film to screen on March 13, transfers the action from the sea to the nocturnal forests adjacent to Germany's <i>autobahn - </i>where a serial killer lurks, preying on young girls.<br /></span></span></p><p style="margin: 0in;"><span style="font-size: medium;"><span style="font-family: inherit;"><span style="color: #1a1a1a;"> </span></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><span style="font-family: inherit;"><span style="color: #1a1a1a;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEhDQxWTac916F4253LeMCy9b07AcpL3pdt-xblnS_7ku-t4cqKZOA2puCofoaTGqmE3ZMIE08qRZw-gcAoZQNY_oW4mi-BKJ-RTUz4V9JLBAKaJBhl0CqeJacW9btTO8e3B4BTctkU7N8MeaFR7y84cnTDzdXdSdFPjKxln_NdNrdqLLyjN9Z_SPMfM=s476" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="476" data-original-width="340" height="389" src="https://blogger.googleusercontent.com/img/a/AVvXsEhDQxWTac916F4253LeMCy9b07AcpL3pdt-xblnS_7ku-t4cqKZOA2puCofoaTGqmE3ZMIE08qRZw-gcAoZQNY_oW4mi-BKJ-RTUz4V9JLBAKaJBhl0CqeJacW9btTO8e3B4BTctkU7N8MeaFR7y84cnTDzdXdSdFPjKxln_NdNrdqLLyjN9Z_SPMfM=w278-h389" width="278" /></a></span></span></span></div><span style="font-size: medium;"><span style="font-family: inherit;"><span>As Marc Svetov relates, director Peter
Pewas—possibly the most talented filmmaker in Germany during the 40s and
50s—was a thorn in his own side; he antagonized Nazi censors with his first
film THE ENCHANTED DAY (1943), brazenly returning to themes and characters from
the “decadent” Weimar school. He also had difficulties in East Germany when he
was “one and out” with DEFA in the aftermath of creating the “rubble” drama STREET
ACQUAINTANCES (1948). Marc sums up Pewas’ problem succinctly (and
diplomatically):</span></span></span><span style="font-size: medium;"><span style="font-family: inherit;">
</span></span><p style="margin: 0in;"><span style="font-size: medium;"><span style="font-family: inherit;"><span> </span></span></span></p><span style="font-size: medium;"><span style="font-family: inherit;">
</span></span><p style="margin: 0in;"><span style="font-size: medium;"><span style="font-family: inherit;"><i><span>He was far too unconventional as a director and
artist to conform very well with the East German Communist regime.</span></i></span></span></p><span style="font-size: medium;"><span style="font-family: inherit;">
</span></span><p style="margin: 0in;"><span style="font-size: medium;"><span style="font-family: inherit;"><span> </span></span></span></p><span style="font-size: medium;"><span style="font-family: inherit;">
</span></span><p style="margin: 0in;"><span style="font-size: medium;"><span style="font-family: inherit;"><span>And that unconventionality led him to conceive of MANY
PASSED BY as a version of RASHOMON, with competing (and, in some cases,
overlapping) narrative sections reflecting three points of view: the serial
killer, his intended victim, and the harried investigator attempting to prevent
another murder.</span></span></span></p><span style="font-size: medium;"><span style="font-family: inherit;">
</span></span><p style="margin: 0in;"><span style="font-size: medium;"><span style="font-family: inherit;"><span> </span></span></span></p><span style="font-size: medium;"><span style="font-family: inherit;">
</span></span><p style="margin: 0in;"><span style="font-size: medium;"><span style="font-family: inherit;"><span>Even in our post-MEMENTO age, this was a risky
narrative proposition, but Pewas carries it off with only a few hiccups along
the way, with suspense maintained to the end. He is also aided considerably by
the exceptionally atmospheric photography of <b>Klaus von Rautenfeld</b>,
who not only handles the customary noir lighting that one would expect in a
mostly nocturnal tale, but also creates uniquely evocative twilight moments in
the natural settings. I suspect that his work will evoke similar responses to
what Marc Svetov was moved to describe in his examination of the film:</span></span></span></p><span style="font-size: medium;"><span style="font-family: inherit;">
</span></span><p style="margin: 0in;"><span style="font-size: medium;"><span style="font-family: inherit;"><span> </span></span></span></p><span style="font-size: medium;"><span style="font-family: inherit;">
</span></span><p style="margin: 0in;"><span style="font-size: medium;"><span style="font-family: inherit;"><i><span>…his means for poetically realizing what he wished
in the film are minimalist, yet so effective: the night scenes along the
highway, the slick highway surface, the fog in the early morning; the starkly
outlined silhouette of the woods, the place of the murders against the night
sky; the interior scenes in the café along the highway, the dimly lit police
station; the scenes at the home of the detective who is desperate to capture
the killer…one must deem MANY PASSED BY as one-of-a-kind for its era.</span></i></span></span></p><span style="font-size: medium;"><span style="font-family: inherit;">
</span></span><p style="margin: 0in;"><span style="font-size: medium;"><span style="font-family: inherit;"><span> </span></span></span></p><span style="font-size: medium;"><span style="font-family: inherit;">
</span></span><p style="margin: 0in;"><span style="font-size: medium;"><span style="font-family: inherit;"><span>While von Rautenfeld worked constantly over the next
fifteen years, Pewas never made another feature film after MANY PASSED BY: he
was relegated to documentaries and short subjects until his death in 1984. It
was a daunting fate for a man who made such a haunting film. But he left behind
a highly accomplished noir that handles what is now a familiar subject in an
intriguing and unusual way. </span></span></span></p><p style="margin: 0in;"><span style="font-size: medium;"><span style="font-family: inherit;"><span><br /></span></span></span></p><p style="margin: 0in; text-align: center;"><span style="font-size: medium;"><span style="font-family: inherit;"><span>~<br /></span></span></span></p><span style="font-size: medium;"><span style="font-family: inherit;">
</span></span><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: inherit;"><span>Midcentury Madness '22 continues at San Francisco’s Littl</span></span></span><span style="font-size: medium;"><span style="font-family: inherit;"><span><span style="font-size: medium;"><span style="font-family: inherit;"><span>e</span></span></span> Roxie Theater when
these rare noirs screen this weekend, March
12 and 13. <b><a href="https://www.roxie.com/ai1ec_event/midcentury-madness-22-pt2/?instance_id=45240"><span style="color: #c00000;">Click here </span></a></b>for detailed information and
tickets.</span></span></span></p><p class="MsoNormal"><span style="font-size: medium;"><span style="font-family: inherit;"><span></span></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><span style="font-family: inherit;"><span><a href="https://blogger.googleusercontent.com/img/a/AVvXsEjI9WajhwWLx4TDsRm8cP9lf6ciwVRV9zMACT0acDv3NUmCYiYaE3zkE6oRCuzvjsIBDQzfmvc4Qmht7W3VGIArmwDICAYBm3omExbyqXV5etqmIMoxFMyL5cHaesPOhyDaiaNOooBcDepYMhD5klgOMc7DJZoo-N0WQJ_xS3xhNTlcZiSSZcouLyVS=s1100" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="349" data-original-width="1100" height="177" src="https://blogger.googleusercontent.com/img/a/AVvXsEjI9WajhwWLx4TDsRm8cP9lf6ciwVRV9zMACT0acDv3NUmCYiYaE3zkE6oRCuzvjsIBDQzfmvc4Qmht7W3VGIArmwDICAYBm3omExbyqXV5etqmIMoxFMyL5cHaesPOhyDaiaNOooBcDepYMhD5klgOMc7DJZoo-N0WQJ_xS3xhNTlcZiSSZcouLyVS=w554-h177" width="554" /></a></span></span></span></div><span style="font-size: medium;"><span style="font-family: inherit;"><span><br /> </span></span></span><p></p>The Lady Evehttp://www.blogger.com/profile/11963115499930520653noreply@blogger.com1tag:blogger.com,1999:blog-8509825018139758536.post-51928608149066650992021-12-24T15:06:00.006-08:002021-12-25T08:23:35.648-08:00Holiday Movie Memories: 3 Favorites from the Vault<p style="text-align: center;"><span style="font-size: medium;"><span style="font-family: inherit;"> <a href="https://blogger.googleusercontent.com/img/a/AVvXsEi4i99QFXMscsdfEjjiI5VAxwhEcDgCUDp5kSL0ZPDM4Qu_fABIj7d6Dg6Aem_fHfu8LypSgQ85ysYffQP-w0ZA3L9LCGDzOuy0QCMlcjiaBtaWdN01lZATi7JV9H51AkZfqJsmIziUpOQ9SEU-AuTMEAlU0xtlI8HcEqlbrbWJa1zDarnGBfT6q5J4=s640" id="_idgpn_2" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="640" data-original-width="640" height="529" id="_idgpn_1" src="https://blogger.googleusercontent.com/img/a/AVvXsEi4i99QFXMscsdfEjjiI5VAxwhEcDgCUDp5kSL0ZPDM4Qu_fABIj7d6Dg6Aem_fHfu8LypSgQ85ysYffQP-w0ZA3L9LCGDzOuy0QCMlcjiaBtaWdN01lZATi7JV9H51AkZfqJsmIziUpOQ9SEU-AuTMEAlU0xtlI8HcEqlbrbWJa1zDarnGBfT6q5J4=w529-h529" width="529" /> </a></span></span></p><p style="text-align: left;"><span style="font-size: medium;"><span style="font-family: inherit;">As time goes by I find myself in a reflective mood on Christmas Eve, often savoring memories of holidays gone by, some long, long ago, others from just a few years past. This year as I perused TCM's Christmas Eve schedule, I noticed that several longtime favorites were in the lineup and realized that I'd blogged about some of them early in the life of this blog (which is now 11 years old). Being in a reminiscing frame of mind, I thought it might be fun to post these "oldies but (hopefully) goodies" once again and take readers on a nostalgic walk down holiday movie memory lane...<span></span></span></span></p><a name='more'></a><p></p><p style="text-align: left;"><span style="font-size: medium;"><span style="font-family: inherit;">In December 2011 I published my first post on one of my all-time favorite Christmas movies, Ernst Lubitsch's <i>The Shop Around the Corner </i>(1940). I read it now and grouse to myself that there was so much more that should've been said about this timeless masterpiece. It is one of those "perfect" movies of the classic age, not a flaw anywhere to be seen or heard. It is Lubitsch at his peak, screenwriter Samson Rafaelson at his and it showcases a brilliant cast giving award-worthy performances all around, including one of my very favorite from James Stewart. And the story - well, it is so strong it has been reworked and remade at least twice (<i>In the Good Old Summertime</i> and <i>You've Got Mail</i>). </span></span></p><p style="text-align: left;"><span style="font-size: medium;"><span style="font-family: inherit;"><a href="https://www.ladyevesreellife.com/2011/12/shop-around-corner-1940-lubitsch.html" id="_idgpn_2"><b>The Shop Around the Corner (1940): A Lubitsch Christmas</b></a> from December 5, 2011</span></span></p><p style="text-align: left;"><span style="font-size: medium;"><span style="font-family: inherit;">One year earlier, in 2010, I published my first Christmas movie blog post and the subject, a most deserved subject, was Vincente Minnelli's <i>Meet Me in St. Louis </i>(1944). Though the post seems a bit "rough" to me now, what I do see in it that I like is my deep love for and connection to the film. Of course, it is a movie much beloved by classics fans of today and by just about everyone in its day - it was the top grossing film of 1944. This is another classic from MGM boasting a director at the height of his game, a wonderful ensemble cast, with Judy Garland in the spotlight singing more than one of her signature tunes, and a family tale few could resist.</span></span></p><p style="text-align: left;"><span style="font-size: medium;"><span style="font-family: inherit;"><b><a href="https://www.ladyevesreellife.com/2010/12/happy-holidays.html" id="_idgpn_3">Happy Holidays!</a> </b>from December 5, 2010</span></span></p><p style="text-align: left;"><span style="font-size: medium;"><span style="font-family: inherit;">This last post is another from the babyhood of the blog. In my review of <i>Christmas in Connecticut </i>(1945) I approached the film from the perspective of the moment in time when it was released, the very ending of World War II. As one author I quoted in the piece wrote of the time, "<span face=""arial" , "helvetica" , sans-serif">Christmas 1945 was a collective prayer, a nationwide sigh of relief," and this lighthearted but heartwarming romantic comedy managed to capture that spirit. This "Christmas in July" offering from Warner Bros. features never-a-bad-performance Barbara Stanwyck surrounded with an able and charismatic cast including Dennis Morgan, Sydney Greenstreet, S.Z. Sakall, Reginald Gardiner and Joyce Compton. This is one of those holiday romcoms that can actually "warm the cockles of your heart" while you're laughing.<br /></span></span></span></p><p style="text-align: left;"><span style="font-size: medium;"><span style="font-family: inherit;"><span face=""arial" , "helvetica" , sans-serif"><b><a href="https://www.ladyevesreellife.com/2010/12/christmas-in-connecticut-1945one.html" id="_idgpn_4">Christmas in Connecticut (1945)...one special holiday season...</a> </b>from December 18, 2010</span></span></span></p><p style="text-align: left;"><span style="font-size: medium;"><span style="font-family: inherit;"><span face=""arial" , "helvetica" , sans-serif"></span></span></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" id="_idgpn_6" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEgmdU4N4ADFI738C_Rm-_mcyKU0VN7S0e5uSArRoP1WJ1eovYgV2yvfhuO-unkomJYB4qdmByxQUvt-v0EeBe5AvMPg2vnOkqwGzcTzfpzLXv0F4vaN1bTVbxi72AtF_5lfYb4uD671JvuQ-ofi0dbTm2_yYSFL5qmnT9fPOX9RDWvS1pyqlYNUwWo0=s619" id="_idgpn_7" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="619" data-original-width="468" height="400" id="_idgpn_1" src="https://blogger.googleusercontent.com/img/a/AVvXsEgmdU4N4ADFI738C_Rm-_mcyKU0VN7S0e5uSArRoP1WJ1eovYgV2yvfhuO-unkomJYB4qdmByxQUvt-v0EeBe5AvMPg2vnOkqwGzcTzfpzLXv0F4vaN1bTVbxi72AtF_5lfYb4uD671JvuQ-ofi0dbTm2_yYSFL5qmnT9fPOX9RDWvS1pyqlYNUwWo0=w303-h400" width="303" /> </a></td><td style="text-align: center;"> </td></tr><tr><td class="tr-caption" style="text-align: center;"></td></tr></tbody></table><p></p><p style="text-align: center;"><span style="font-size: medium;"><span style="font-family: inherit;"><span face=""arial" , "helvetica" , sans-serif">Merry Christmas to all, and to all a good night! <br /></span></span></span></p><p style="text-align: left;"><span style="font-size: medium;"><span style="font-family: inherit;"><span face=""arial" , "helvetica" , sans-serif"><br /></span></span></span></p><span style="font-size: medium;"><span style="font-family: inherit;"><input id="idg-io-safe-browsing-enabled" oninit="true" type="hidden" /></span></span>The Lady Evehttp://www.blogger.com/profile/11963115499930520653noreply@blogger.com1tag:blogger.com,1999:blog-8509825018139758536.post-75714682947265772422021-12-04T17:14:00.052-08:002022-10-28T16:02:16.832-07:00The Everlasting Imprint of Conrad Veidt<div style="text-align: left;"><br /></div><div style="text-align: center;"><p class="MsoNormal" id="_idgpn_3"></p><div class="separator" id="_idgpn_36" style="clear: both; text-align: center;"><span style="font-size: medium;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqrSICGz2gjUN0To2CvTZDYXrQOjf7ko9bTBgs9xn-Rb-C554cTuZAYexShdfV_-d-SuuizM-bun2cI_5TDHeOcVj8vAOb-GJ3ilYq1qvKxdeZZ7CwbTk4fDdMOAvem2sryOt6747CCoI/s2048/Conrad+V.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2048" data-original-width="1543" height="640" id="_idgpn_1" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqrSICGz2gjUN0To2CvTZDYXrQOjf7ko9bTBgs9xn-Rb-C554cTuZAYexShdfV_-d-SuuizM-bun2cI_5TDHeOcVj8vAOb-GJ3ilYq1qvKxdeZZ7CwbTk4fDdMOAvem2sryOt6747CCoI/w482-h640/Conrad+V.jpg" width="482" /></a></span></div><h4 style="text-align: center;"><span style="font-size: medium;"> EXPLORING THE CAREER AND INFLUENCE OF CONRAD VEIDT FOR THE 10th ANNUAL 'WHAT A CHARACTER' BLOGATHON<br /></span></h4><p style="text-align: left;"><span style="font-size: medium;">Berlin-born Conrad Veidt packed nearly 120 film roles into his all too
brief lifetime, but it was the last film released before his death that
guaranteed him a special brand of eternal life, the “filmmortality,” or film immortality, actors acquire when they’ve played a key role in a film that becomes a timeless classic. For Veidt
the film was <i>Casablanca</i> (1942) and the role was cold-as-marble Major Heinrich
Strasser, Nazi commanding officer. The film opened wide in the US on the day
after Veidt’s 50<sup>th</sup> birthday, and he lived long enough to see it achieve
its early success. He was gone by the time <i>Casablanca </i>was nominated for eight
Oscars and went on to win Best Picture, Best Director and Best Screenplay. Veidt
had enjoyed making the film but could not have imagined that the movie Warner
Bros. had initially feared would fail would one day be universally beloved and frequently
touted as the best studio film of Hollywood’s classic era.</span></p><a name='more'></a><p></p><p></p><span style="font-size: medium;"><span style="font-family: inherit;">
</span></span><p class="MsoNormal" id="_idgpn_5"><span style="font-size: medium;"><span style="font-family: inherit;"><i></i></span></span></p><table cellpadding="0" cellspacing="0" class="tr-caption-container" id="_idgpn_54" style="float: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhMGT8_RUyCCZJu-OTfVGiVu4c3nNa9JxXQ0t-yyQRNDx6sHTjJzOhKWH59VrRrSG5ehoSTr2env6qMpUqxJZmfjmX_jgdLv7Fh2_d2l71S3JhIC2bdmg2QzOP67oXTIIzJYjw4N2lPuts/s2048/Conrad+V2.jpg" id="_idgpn_38" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1334" data-original-width="2048" height="260" id="_idgpn_2" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhMGT8_RUyCCZJu-OTfVGiVu4c3nNa9JxXQ0t-yyQRNDx6sHTjJzOhKWH59VrRrSG5ehoSTr2env6qMpUqxJZmfjmX_jgdLv7Fh2_d2l71S3JhIC2bdmg2QzOP67oXTIIzJYjw4N2lPuts/w400-h260/Conrad+V2.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>Casablanca</i></td></tr></tbody></table><div style="text-align: left;"><span style="font-size: medium;"><span style="font-family: inherit;"><i><span style="font-size: medium;"><span style="font-family: inherit;">Casablanca</span></span></i> <span style="font-size: medium;">is a juggernaut of a classic and Veidt, blessed
with a piercing gaze, striking features, a commanding bearing and bone-deep talent,
is superb as the archetypal soulless Nazi. Yet, while the film and the role may
have capped his career with an exclamation point it was not his only claim to filmmortality.
There was also the silent masterpiece that made him an international star more
than twenty years earlier.<i> The Cabinet of Dr. Caligari </i>(1920)
is not a popular mainstream classic like <i>Casablanca</i>, but it is, with its twisty scenario, surreal
set design and disturbing performances, one of the most significant and
influential German expressionist films in cinema history. It has also been
called the first art film and the first horror film. In it, a lithe, spectral Veidt
portrays Cesare, seen through most of the film as a somnambulist with little
free will who commits murder under the spell of a mad Dr. Caligari. The film created
a sensation on release and continues to be studied in film schools across the
globe.</span></span></span><br /></div></div><div style="text-align: center;"><p></p><span style="font-size: medium;"><span style="font-family: inherit;">
</span></span><p class="MsoNormal" id="_idgpn_7"><span style="font-size: medium;"><span style="font-family: inherit;"><i></i></span></span></p><table cellpadding="0" cellspacing="0" class="tr-caption-container" id="_idgpn_53" style="float: right;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjECSEQ8RGWAmQloWT5VLpQv_45rvVd3-PiNe4MG0gTYH-KZhLNU5uW7T17CNF366C0KK4zp6vh_VpJh2AWyvnQH6ryGZXj18oxoWRme3eyEOnvtzSyDFHXyWq_XNQjPJkW0Q-EbwCv-RU/s1920/Conrad+V+4.jpg" id="_idgpn_40" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1080" data-original-width="1920" height="225" id="_idgpn_3" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjECSEQ8RGWAmQloWT5VLpQv_45rvVd3-PiNe4MG0gTYH-KZhLNU5uW7T17CNF366C0KK4zp6vh_VpJh2AWyvnQH6ryGZXj18oxoWRme3eyEOnvtzSyDFHXyWq_XNQjPJkW0Q-EbwCv-RU/w400-h225/Conrad+V+4.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>The Cabinet of Dr. Caligari<br /></i></td></tr></tbody></table><div style="text-align: left;"><span style="font-size: medium;"><span style="font-family: inherit;"><i><span style="font-size: medium;">The Cabinet of Dr. Caligari </span></i><span style="font-size: medium;">and <i>Casablanca</i>
represent high points in two distinct phases of Conrad Veidt’s career and life,
his years in German silents during the Weimar era and his last years in
Hollywood during the second world war. There was another phase between the two,
the early and mid- years of Hitler’s reign, when Veidt and his Jewish wife emigrated to
England. Among the films he made during this British period, 1933 – 1940, was <i>The
Thief of Bagdad </i>(1940), a film that brought Veidt yet another signature role.
The big-budget, Technicolor fantasy/adventure highlights Veidt’s flair for
villainy with his mesmerizing performance as wicked sorcerer and "grand vizier," Jaffar. His fierce,
colorful turn as Jaffar would resonate over time so that when Disney produced
the animated feature that became the top-grossing film of 1992, <i>Aladdin</i>,
the villain, Jafar, was modeled on Veidt’s characterization 50+ years earlier.</span></span></span><br /></div></div><div style="text-align: center;"><p></p><span style="font-size: medium;"><span style="font-family: inherit;">
</span></span><p class="MsoNormal" id="_idgpn_11"><span style="font-size: medium;"></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" id="_idgpn_51" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0X8hFwXJCM1JIixw3r8yTiAEAf6e9RSaCMn-dJYvwF4hQFb13zcm2INkT8NiYtawZ8LEMimnU7NdsF80Bp_FGrg1KENumjm_jv2nERXrncqER7AzXk7-SwFpF8BF6AqLglFBQ4h_f03I/s708/Conrad+V+5.png" id="_idgpn_52" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="531" data-original-width="708" height="321" id="_idgpn_4" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0X8hFwXJCM1JIixw3r8yTiAEAf6e9RSaCMn-dJYvwF4hQFb13zcm2INkT8NiYtawZ8LEMimnU7NdsF80Bp_FGrg1KENumjm_jv2nERXrncqER7AzXk7-SwFpF8BF6AqLglFBQ4h_f03I/w429-h321/Conrad+V+5.png" width="429" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">"Jaffar" in <i>The Thief of Bagdad</i><br /></td></tr></tbody></table><p style="text-align: left;"><span style="font-size: medium;"><span style="font-family: inherit;"><span style="font-size: medium;"> Conrad Veidt had become enamored of the stage early in his youth in Germany and began as an actor while in his late teens with Max Reinhardt’s famed
Deutsches Theater, Berlin’s official theater. He moved into film relatively
quickly, rose to stardom and, once he'd gained international fame, received an
invitation to silent era Hollywood that he accepted. He would return to Germany
with the advent of sound films only to be driven out forever by the rise of Hitler
and his National Socialists.<br /></span></span></span></p><p style="text-align: left;"></p><div style="text-align: left;"><span style="font-size: medium;"><span style="font-family: inherit;">
</span></span></div><p class="MsoNormal" id="_idgpn_13" style="text-align: left;"><span style="font-size: medium;"><span style="font-family: inherit;">A lesser man, a lesser artist, might’ve faded from the
scene at this point, but Conrad Veidt was anything but “lesser.” He admitted <span> </span>that driving ambition, will and luck were crucial
to his success, but he also spoke of an unusual, deep-seated “power” within him
that, he believed, “transmutes not only my inner but physical being when I am
called upon to express myself on the stage or before the camera.” It was, he
felt, “as though something within me presses a switch and my own consciousness
merges into some other, greater, more vital being.” This mysterious internal
process helps account for the force and fluidity of his performances as well as his magnetic presence.<br /></span></span></p><div style="text-align: left;"><span style="font-size: medium;"><span style="font-family: inherit;">
</span></span></div><p class="MsoNormal" id="_idgpn_15" style="text-align: left;"><span style="font-size: medium;"><span style="font-family: inherit;">From the macabre grotesques of his silent films to the cruel,
cosmopolitan Nazis of his late career, it is for his more sinister roles that
Conrad Veidt is best remembered. The mix of sophistication, charm and overt –
or covert – danger he seemed to so effortlessly project onscreen put him in high
demand for films in need of a formidable, even dominating villain, and there
were many.<br /></span></span></p><span style="font-size: medium;"><span style="font-family: inherit;">
</span></span><p class="MsoNormal" id="_idgpn_17"><span style="font-size: medium;"><span style="font-family: inherit;"></span></span></p><table cellpadding="0" cellspacing="0" class="tr-caption-container" id="_idgpn_55" style="float: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQqNK4QEllZrf6X_FHiFtbGcNrb4bV_N9ncXgT1fqYpw1kNfn8bkvaAAsnQsxIIgelPp8-EPhP0fGw0ATmqtJgRGymOwNF6hDQNzOA_x1dvZ-UF0tSCXATBbVAeahNAX27GYS7YLZnuYU/s700/CV.gif" id="_idgpn_43" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="700" data-original-width="500" height="407" id="_idgpn_5" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQqNK4QEllZrf6X_FHiFtbGcNrb4bV_N9ncXgT1fqYpw1kNfn8bkvaAAsnQsxIIgelPp8-EPhP0fGw0ATmqtJgRGymOwNF6hDQNzOA_x1dvZ-UF0tSCXATBbVAeahNAX27GYS7YLZnuYU/w291-h407/CV.gif" width="291" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>A Woman's Face<br /></i></td></tr></tbody></table><div style="text-align: left;"><span style="font-size: medium;"><span style="font-family: inherit;"><span style="font-size: medium;">One of the most fascinating dark turns of his mature career came
in <i>A Woman’s Face</i>, the 1941 MGM remake of an earlier Swedish film
starring Ingrid Bergman. Veidt described his character, Torsten Barring, as “Lucifer
in a tuxedo.” Barring is a cash-poor aristocrat/playboy who is not above finding
the money to maintain his luxurious existence through theft, blackmail and even
child murder. Veidt, in an elegantly understated performance, offers a three-dimensional
rendering of a debauched sophisticate of tantalizing charisma, unapologetic arrogance
and no conscience. The scene in which he, voice soft and eyes glittering, conquers
scarred and embittered Anna Holm (Joan Crawford) with his well-honed charm
defines Torsten’s predatory nature and showcases Veidt’s seductive allure. It
was one of his favorite roles.</span></span></span><br /></div><div style="text-align: left;"><span style="font-size: medium;"><span style="font-family: inherit;">
</span></span></div><p class="MsoNormal" id="_idgpn_19" style="text-align: left;"><span style="font-size: medium;"><span style="font-family: inherit;">Although he could be deliciously convincing as a villain, Veidt possessed the<span> </span>range and skill to play believably sympathetic characters.
One of the better films of his British period was one of his last before decamping
to the U.S. The wartime espionage drama <i>Contraband </i>(1940) was directed by
Michael Powell with a screenplay by Emeric Pressburger. Veidt portrayed the captain of
a neutral Danish freighter who becomes involved in a British agent’s (Valerie
Hobson) assignment to track down a ring of German spies based in London. Not
only did he have the opportunity to play a courageous lead on the right side
of the war, but Veidt also got the girl in the end. It was while promoting this
film in the U.S. that he was lured to Hollywood once more.<br /></span></span></p><span style="font-size: medium;"><span style="font-family: inherit;">
</span></span><p class="MsoNormal" id="_idgpn_21"><span style="font-size: medium;"><span style="font-family: inherit;"></span></span></p><table cellpadding="0" cellspacing="0" class="tr-caption-container" id="_idgpn_50" style="float: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYq0B1kmvaImR2MzF0QC_67S8mp8K96KuS0ylkocR3rjap9xnxINwFLWXYLODK-5phbn94jLWiwR5MH2mNxPTjDZiCS4OWW-cwsvwouKo9P29TXf94_RCJpaTGDrFrP8pZCZ6kidsWZHY/s300/above+suspicion.jpg" id="_idgpn_49" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="300" data-original-width="300" height="300" id="_idgpn_6" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYq0B1kmvaImR2MzF0QC_67S8mp8K96KuS0ylkocR3rjap9xnxINwFLWXYLODK-5phbn94jLWiwR5MH2mNxPTjDZiCS4OWW-cwsvwouKo9P29TXf94_RCJpaTGDrFrP8pZCZ6kidsWZHY/s0/above+suspicion.jpg" width="300" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>Above Suspicion<br /></i></td></tr></tbody></table><div style="text-align: left;"><span style="font-size: medium;"><span style="font-family: inherit;"><span style="font-size: medium;">He would make eight films during his final three years
in Hollywood. In the first of them, <i>Escape </i>(1940), Veidt would appear with
monocle firmly in place in the role of a brutish Nazi official. In <i>Whistling in the
Dark </i>(1941), a Red Skelton comedy, he played a cult leader. He portrayed a
ballet instructor and mentor to Loretta Young’s fledgling ballerina in <i>The
Men in Her Life </i>(1941). <i>All Through the Night </i>(1942), a Humphrey
Bogart vehicle from Warners, featured Veidt as the ringleader of a gang of German
saboteurs in New York. <i>Nazi Agent</i> (1942) brought the dual role of German-born twins who have emigrated to the U.S.; one is a loyal American, the other
a Nazi. All those Nazis! Ironically, of course, Conrad Veidt was staunchly and actively
anti-Nazi. He was vocal about his opposition to the Third Reich in interviews and public appearances,
performed without pay in WWII-themed radio plays and was involved in the
European Film Fund, an organization that assisted displaced European film folk.</span></span></span><br /></div><div style="text-align: left;"><span style="font-size: medium;"><span style="font-family: inherit;">
</span></span></div><p class="MsoNormal" id="_idgpn_23" style="text-align: left;"><span style="font-size: medium;"><span style="font-family: inherit;">Conrad Veidt’s final film, <i>Above Suspicion </i>(1943) was
released a month after his passing in April 1943. It's not one of his
signature films or even a very good film, but it did allow him
to go out playing an anti-Nazi. The plot has newlyweds Joan Crawford
and Fred MacMurray in Austria on a spy mission. Veidt is the genteel and
gallant Austrian freedom fighter who guides and looks out for them. The New York Times observed, “The late Conrad Veidt must have enjoyed this sabbatical from his
portraits of thin-lipped villainy; here he plays a sort of underground Robin
Hood...” Naturally, his character was cultured and urbane, but this
time he was also heroic.<br /></span></span></p><div style="text-align: left;"><span style="font-size: medium;"><span style="font-family: inherit;">
</span></span></div><p class="MsoNormal" id="_idgpn_25" style="text-align: left;"><span style="font-size: medium;"><span style="font-family: inherit;">Veidt had been aware for some years that he had a heart
condition but he kept this to himself so he could continue to work. Reports
of the time have it that he and his wife attended a late-night party on the evening of
April 2, 1943, and that on the morning of the 3<sup>rd</sup> he headed to the
Riviera Country Club in Los Angeles where he had an early golf date. Apparently
he collapsed on the eighth hole.<br /></span></span></p><span style="font-size: medium;"><span style="font-family: inherit;">
</span></span><p align="center" class="MsoNormal" id="_idgpn_26" style="text-align: center;"><span style="font-size: medium;"><span style="font-family: inherit;"></span></span></p><span style="font-size: medium;"><span style="font-family: inherit;">
</span></span><p class="MsoNormal" id="_idgpn_29"><span style="font-size: medium;"><span style="font-family: inherit;"></span></span></p><div class="separator" id="_idgpn_44" style="clear: both; text-align: center;"><span style="font-size: medium;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgaW7HHSIuoK6EnXJUmvwGV_S5NxMm01QU2sZIqTIZfZiAad8N-P6-KaHk2FUnIrA7GEGO8V4r1Yj9mC89M7F94YvmJ6CVPAoeaxNKsiN8MsmkiZExEc6QaNGMx1VC6ywOaA0BkHHVghXo/s1500/Conrad+man.jpg" id="_idgpn_45" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1500" data-original-width="1050" height="400" id="_idgpn_7" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgaW7HHSIuoK6EnXJUmvwGV_S5NxMm01QU2sZIqTIZfZiAad8N-P6-KaHk2FUnIrA7GEGO8V4r1Yj9mC89M7F94YvmJ6CVPAoeaxNKsiN8MsmkiZExEc6QaNGMx1VC6ywOaA0BkHHVghXo/w280-h400/Conrad+man.jpg" width="280" /></a></span></div><div style="text-align: left;"><span style="font-size: medium;">Conrad Veidt departed Hollywood forever at age 50 nearly 80 years
ago. He is known and admired among film buffs primarily thanks to <i>Casablanca</i> and <i>The
Cabinet of Dr. Caligari</i>, but his impact extends beyond his roles in those
two classics. Disney wasn’t alone in admiring Veidt’s performance in <i>The Thief
of Bagdad</i><i>. </i>Stop-motion animation virtuoso
Ray Harryhausen had also taken note. He was a fan of the film and heavily
influenced by it. Each of his three Sinbad films of the 1950s – 1970s featured a
sorcerer figure inspired by Veidt's Jaffar, and some Harryhausen enthusiasts will say these
characters were intended as homage. Bob Kane, the creator of Batman,
credited Conrad Veidt’s look - the "rictus smile" - and performance in <i>The Man Who Laughs</i> (1928), a
silent made when Veidt was under contract to Universal, as the inspiration for the
Joker. The Joker, a major figure in the Batman cosmos, has been portrayed by
several actors over several decades, from Cesar Romero on TV to
Jack Nicholson, Heath Ledger (Supporting Actor Oscar) and Jared Leto in the film franchise. Linked to Batman's </span><span style="font-size: medium;"><span style="font-size: medium;">Joker </span>and providing a an origin story for the character, the stand-alone film <i>Joker </i>(2019) was a psychological
thriller starring Joaquin
Phoenix in a Best Actor Oscar-winning performance as a comedian descending into madness. </span><span style="font-size: medium;">And thus it is that the imprint of Conrad Veidt has spanned ten decades of film - so far.</span><br /></div><div style="text-align: left;"><span style="font-size: medium;"><span style="font-family: inherit;">
</span></span></div><p class="MsoNormal" id="_idgpn_30" style="text-align: center;"><span style="font-size: medium;"><span style="font-family: inherit;">~</span></span></p><div style="text-align: left;"><span style="font-size: medium;"><span style="font-family: inherit;">
</span></span></div><p class="MsoNormal" id="_idgpn_32" style="text-align: left;"><span style="font-size: medium;"><span style="font-family: inherit;">This is my contribution to the fabulous <b>10<sup>th</sup> Annual
What a Character! </b>blogathon. <a href="https://paulascinemaclub.com/2021/12/04/10th-annual-what-a-character-evening-edition/" id="_idgpn_1"><b><span style="color: red;">Click here</span></b></a> for more!</span></span></p><p class="MsoNormal" id="_idgpn_32"><span style="font-size: medium;"><span style="font-family: inherit;"></span></span></p><div class="separator" id="_idgpn_47" style="clear: both; text-align: center;"><span style="font-size: medium;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjuI6EDGLlUStOxa3GG4ctsIPcsbi5evyEWY5aAujAXxJYAuLV2gBuSY4y_j6v92GK3B7HAZ97OmFsv6UIAZzHFvNSQeQtiMRrhfVxY0M87-9HCLVbzeT_adYPtiXFxEw-xgnnmx8B5HCM/s579/blogathon.webp" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="579" data-original-width="579" height="400" id="_idgpn_8" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjuI6EDGLlUStOxa3GG4ctsIPcsbi5evyEWY5aAujAXxJYAuLV2gBuSY4y_j6v92GK3B7HAZ97OmFsv6UIAZzHFvNSQeQtiMRrhfVxY0M87-9HCLVbzeT_adYPtiXFxEw-xgnnmx8B5HCM/w400-h400/blogathon.webp" width="400" /></a></span></div><span style="font-size: medium;"><b> </b></span></div><div style="text-align: center;"><span style="font-size: medium;"><b>Many thanks to the members of the Classic Movie Blog Association for selecting this piece as a finalist for the 2022 Award for Best Profile of a Performer.<br /></b></span></div><p style="text-align: left;"></p><span style="font-size: medium;"><span style="font-family: inherit;">
</span></span><p class="MsoNormal" id="_idgpn_33" style="text-align: center;"></p><span style="font-size: medium;"><span style="font-family: inherit;">
<input id="idg-io-safe-browsing-enabled" oninit="true" type="hidden" /></span></span><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgq36N0gsA7xQVIWLe6hYCCE7Jf2H_H-fnTlU1iHaBW5kO4GFwVMvq40f2Xf92HbAk2YezQldZHE9sg4TxWoNnDVjSL-FPeRKW8uHyZOOnLrNhXZMifVNAVmzgf_tMSWQLhsTaX56kKCMmF_zL7YlYhJE5btTrQHT8BDo1SIZspuK-GnuFJ9FVt75CN/s405/CMBA-Nominee2022.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="405" data-original-width="382" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgq36N0gsA7xQVIWLe6hYCCE7Jf2H_H-fnTlU1iHaBW5kO4GFwVMvq40f2Xf92HbAk2YezQldZHE9sg4TxWoNnDVjSL-FPeRKW8uHyZOOnLrNhXZMifVNAVmzgf_tMSWQLhsTaX56kKCMmF_zL7YlYhJE5btTrQHT8BDo1SIZspuK-GnuFJ9FVt75CN/s320/CMBA-Nominee2022.jpg" width="302" /></a></div><br />The Lady Evehttp://www.blogger.com/profile/11963115499930520653noreply@blogger.com20tag:blogger.com,1999:blog-8509825018139758536.post-54642503369962738402021-11-06T18:12:00.043-07:002021-11-08T17:56:18.823-08:00FRENCH NOIRVEMBER RETURNS: The French Had a Name for It 2021<div><p class="MsoNormal" id="_idgpn_1"><span style="font-size: medium;"><span style="font-family: inherit;"><span face=""Segoe UI",sans-serif" style="mso-fareast-font-family: "Times New Roman";"></span></span></span></p><div class="separator" id="_idgpn_16" style="clear: both; text-align: center;"><span style="font-size: medium;"><span style="font-family: inherit;"><span face=""Segoe UI",sans-serif" style="mso-fareast-font-family: "Times New Roman";"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgLtBrdCaxyKKYGqRFoO10xywjiZqXa-c4HtafSEKZERVcDCaM1EoaPMqzT0p2ustndgqD4eoEDn71CdeFQ7Ro0vq8Pr9ZORXFyLolC-3p9jHUTynU1RyzmK8OULL4lJn1ttW4BD_Ydu04/s1187/French+2021+November.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="988" data-original-width="1187" height="414" id="_idgpn_1" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgLtBrdCaxyKKYGqRFoO10xywjiZqXa-c4HtafSEKZERVcDCaM1EoaPMqzT0p2ustndgqD4eoEDn71CdeFQ7Ro0vq8Pr9ZORXFyLolC-3p9jHUTynU1RyzmK8OULL4lJn1ttW4BD_Ydu04/w497-h414/French+2021+November.jpg" width="497" /></a></span></span></span></div><span style="font-size: medium;"><span style="font-family: inherit;"><span face=""Segoe UI",sans-serif" style="mso-fareast-font-family: "Times New Roman";"> </span></span></span><span style="font-size: medium;"><span style="font-family: inherit;"><span face=""Segoe UI",sans-serif" style="mso-fareast-font-family: "Times New Roman";"></span></span></span><p></p><p class="MsoNormal" id="_idgpn_1"><span style="font-size: medium;"><span style="font-family: inherit;"><span face=""Segoe UI",sans-serif" style="mso-fareast-font-family: "Times New Roman";">On October 24, a rare and potent combination of “atmospheric river” and “bomb cyclone” generated a ferocious storm that pounded Northern California, dumping more than a foot of rain in
some areas. As high winds blew and heavy rains fell, streets and roads flooded,
power lines and trees came down and wildfire areas were slammed with mudslides.
Many events and gatherings in the region were scrapped due to the weather, but the
show would go on at San Francisco’s venerable Roxie Theater. It was here,
beginning early in the afternoon, that a four-film French noir program honoring two gods of the French cinema,
Jean-Paul Belmondo and Jean Gabin, went ahead as scheduled. Reflecting on the
impact of the storm, Don Malcolm, whose Midcentury Productions produced the show,
said, “We got hit about as bad as you can get hit without having to evacuate
and have the event cancelled.” He reported that 60 “incredibly hardy and loyal
fans showed up and were thrilled by all the films.” Don noted that the Jean
Gabin sleeper <i>People of No Importance/Des gens sans importance</i> (1956) particularly
pleased the crowd. Given the severity of the weather, it seems several attendees
were especially hardy and loyal – it was their first time in a theater since
the pandemic began. Unfortunately, I wasn’t one of them, forced instead to
hunker down at home in one of the most storm-battered towns north of the city.</span></span></span></p><p class="MsoNormal" id="_idgpn_1"><span style="font-size: medium;"><span style="font-family: inherit;"><span face=""Segoe UI",sans-serif" style="mso-fareast-font-family: "Times New Roman";"></span></span></span></p><div class="separator" id="_idgpn_17" style="clear: both; text-align: center;"><span style="font-size: medium;"><span style="font-family: inherit;"><span face=""Segoe UI",sans-serif" style="mso-fareast-font-family: "Times New Roman";"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRjJE7935jKrTre_iM2Ain3350BWrvEJCJxFfMUwgquZqWwu_59gGnvO0kjTc7oAt5nfmrXKoCf4xdXAU668IlpO3aFVtqJLSukifeN-g8LuZGUDlvm8mCC0fXi2sEG2N6Pkxn1SlPt-U/s1024/2021+French+storm+map.jpg" id="_idgpn_18" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="588" data-original-width="1024" height="230" id="_idgpn_2" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRjJE7935jKrTre_iM2Ain3350BWrvEJCJxFfMUwgquZqWwu_59gGnvO0kjTc7oAt5nfmrXKoCf4xdXAU668IlpO3aFVtqJLSukifeN-g8LuZGUDlvm8mCC0fXi2sEG2N6Pkxn1SlPt-U/w400-h230/2021+French+storm+map.jpg" width="400" /></a></span></span></span></div><p></p><span style="font-size: medium;"><span style="font-family: inherit;">
</span></span><p class="MsoNormal" id="_idgpn_3">
</p><p class="MsoNormal" id="_idgpn_4"><span style="font-size: medium;"><span style="font-family: inherit;"><span><span></span></span></span></span></p><a name='more'></a><span style="font-size: medium;"><span style="font-family: inherit;"><span>The
Belmondo/Gabin tribute was a prelude to the main
event, the November return of what until last year was an annual French noir
festival, <i>The French Had a Name for It. </i>“Phase two” of this year's
series will run over the weekend of November 12 - 14, rain or
shine, at the Roxie. Set to screen are eleven films reclaimed from the rich
but still relatively obscure world of French film noir. New discoveries
as well as great favorites from festivals past will be shown during the three
day program.</span></span></span><p></p><span style="font-size: medium;"><span style="font-family: inherit;">
</span></span><p class="MsoNormal" id="_idgpn_6"><span style="font-size: medium;"><span style="font-family: inherit;"><span></span></span></span></p><p><span style="font-size: medium;"><span style="font-family: inherit;"><span> </span></span></span><span style="font-size: medium;"><span style="font-family: inherit;"><span></span></span></span></p><div class="separator" id="_idgpn_7" style="clear: both; text-align: center;"><span style="font-size: medium;"><span style="font-family: inherit;"><span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEguO_sYtKdhcq8NhMwnyaqOP3aRXC4Pd0VEAgukJ2fE0LeIVOWTW70F8NwlJuIlbshnRWSxFq95u_VhrTjZF79ISH0PzWWnn8j5UnDOMuqOsp-csT-VOeKBswrNW8ORpud1JuAZ9Ct3JqQ/s292/2021+blonde.jpg" id="_idgpn_8" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="292" data-original-width="220" height="400" id="_idgpn_1" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEguO_sYtKdhcq8NhMwnyaqOP3aRXC4Pd0VEAgukJ2fE0LeIVOWTW70F8NwlJuIlbshnRWSxFq95u_VhrTjZF79ISH0PzWWnn8j5UnDOMuqOsp-csT-VOeKBswrNW8ORpud1JuAZ9Ct3JqQ/w301-h400/2021+blonde.jpg" width="301" /></a></span></span></span></div><span style="font-size: medium;"><span style="font-family: inherit;"><span>Opening
night honors one of France’s great unsung noir
masters, actor/writer/director Robert Hossein, who passed away last New Years’ Eve at age 93. A triple
bill will feature two rescreenings from earlier festivals, <i>Blonde in a White
Car/Toi le venin </i>(1958) and <i>Death of a Killer/La mort d’un tueur</i>
(1964). <i>Blonde </i>is also known as <i>Nude in a White Car</i>, a nod to the film's steamy opening scenes involving Hossein and a mysterious blonde in a white Cadillac...with a gun. When they meet again he will discover she has an equally enigmatic blonde sister. In <i>Death of
a Killer,</i> Hossein is an ex-con out for vengeance. New Wave muse Marie-France Pisier portrays his sister, a woman just as capable of vendetta. The closer for the evening is Hossein’s first and only
neo-noir, 1970’s <i>Falling Point</i>/<i>Point de chute</i>, recently unearthed
by Malcolm and company. The teenage daughter of a wealthy family is kidnapped for ransom by Hossein and his gang, but one of the gang members (French rock star Johnny Hallyday) falls in love with the captive. </span></span></span><p></p><p></p><span style="font-size: medium;"><span style="font-family: inherit;">
</span></span><p class="MsoNormal" id="_idgpn_7"><span style="font-size: medium;"><span style="font-family: inherit;"><span></span></span></span></p><span style="font-size: medium;"><span style="font-family: inherit;">
</span></span><p class="MsoNormal" id="_idgpn_8"><span style="font-size: medium;"><span style="font-family: inherit;"><span></span></span></span></p><div class="separator" id="_idgpn_9" style="clear: both; text-align: center;"><span style="font-size: medium;"><span style="font-family: inherit;"><span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgUFW8g5z5Os3UXayI6t6KvYs0Lttv3-Hw3_dT-ZyFOgdiebM2eTtxKMPQV5bf2JeqZPyQ7l4b2R4Uy8oT-6Qa6OCdBc6llELH9yGZvQoI4S_S6VOdM8UqJVfB4WBi1j-3LkHEvJzX2U3g/s500/2021+sleeping.jpg" id="_idgpn_10" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="379" data-original-width="500" height="304" id="_idgpn_2" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgUFW8g5z5Os3UXayI6t6KvYs0Lttv3-Hw3_dT-ZyFOgdiebM2eTtxKMPQV5bf2JeqZPyQ7l4b2R4Uy8oT-6Qa6OCdBc6llELH9yGZvQoI4S_S6VOdM8UqJVfB4WBi1j-3LkHEvJzX2U3g/w400-h304/2021+sleeping.jpg" width="400" /></a></span></span></span></div><span style="font-size: medium;"><span style="font-family: inherit;"><span>Saturday
afternoon reaches back to the dawn of film noir with two rarities from the early ‘30s. In <i>The Lovers of Midnight/Les amours de minuit</i> (1931), </span></span></span><span style="font-size: medium;"><span style="font-family: inherit;"><span><span style="font-size: medium;"><span style="font-family: inherit;"><span>a "darkly comic
blueprint for<span> </span>French film noir to come," </span></span></span>a cabaret chanteuse puts herself between an escaped killer and a not quite innocent bank clerk; <i>In the Name of the Law/Au nom de la loi</i> (1932), the first French <i>policier </i>and </span></span></span><span style="font-size: medium;"><span style="font-family: inherit;"><span><span style="font-size: medium;"><span style="font-family: inherit;"><span>directed by Maurice Tourneur (esteemed father of Jacques <i>Out of the Past </i>Tourneur),</span></span></span> revolves around a femme fatale involved in a dangerous drug trafficking ring.<i>
</i>Saturday evening fast-forwards to the last days of French noir,
the mid-‘60s, with a back-by-popular-demand screening of <i>The Sleeping Car
Murders/Compartiment tueurs</i> (1965), a Costa-Gavras film. One of the great favorites
of an earlier festival, the film features Yves Montand as a beleaguered detective investigating Simone
Signoret, Michel Piccoli, Jean-Louis Trintignant and others in a nerve-jangling
tale that begins with a murder on a railway sleeping car, but does not end with just one killing. Second on the double bill is another late noir, the long-lost mindbender <i>Trap for
Cinderella/Piege pour Cendrillon </i>(1965), starring Dany Carrel as
the "Cinderella" of the title, a woman recovering from injuries suffered in a fire and unsure of her identity; Carrel's performance in three
roles is revelatory. </span></span></span><p></p><span style="font-size: medium;"><span style="font-family: inherit;">
</span></span><p class="MsoNormal" id="_idgpn_9"><span style="font-size: medium;"><span style="font-family: inherit;"><span></span></span></span></p><span style="font-size: medium;"><span style="font-family: inherit;">
</span></span><p class="MsoNormal" id="_idgpn_10"><span style="font-size: medium;"><span style="font-family: inherit;"><span></span></span></span></p><div class="separator" id="_idgpn_11" style="clear: both; text-align: center;"><span style="font-size: medium;"><span style="font-family: inherit;"><span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhIljv4R9uzbN-xaao4iS6Cnbn2e5IeV7UiJlZPGKPdGVrnBdr1QEsXW2VUAdlVNKLmcUENN_blrDU3J4oalZJOlVMifLUJObLqycbzL3K8LYvXCH31c6d5VPN_nqFq9wOEDBufcDU47ZY/s1950/2021+le+silence.jpg" id="_idgpn_12" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1950" data-original-width="1367" height="400" id="_idgpn_3" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhIljv4R9uzbN-xaao4iS6Cnbn2e5IeV7UiJlZPGKPdGVrnBdr1QEsXW2VUAdlVNKLmcUENN_blrDU3J4oalZJOlVMifLUJObLqycbzL3K8LYvXCH31c6d5VPN_nqFq9wOEDBufcDU47ZY/w280-h400/2021+le+silence.jpg" width="280" /></a></span></span></span></div><p><span style="font-size: medium;"><span style="font-family: inherit;"><span>The
Sunday afternoon slate focuses on “vampiric heroes” and opens with the rare
first film from legendary director Jean-Pierre Melville (<i>Le samourai, Le
cercle rouge</i>). <i>The Silence of the Sea/Le silence de la mer </i>(1949) tells
of a Nazi officer in occupied France who is billeted in the home of an elderly
Frenchman and his niece. The two refuse to speak to him, but he speaks to them
and what he has to say is not what they expect.<i> </i>A popular reprise
from an earlier festival follows, Robert Hossein’s <i>The Secret Killer/Le
vampire de Dusseldorf</i> (1965), in which Hossein portrays an otherworldly serial
killer in a chilling reimagining of Fritz Lang’s <i>M</i>. Sunday evening kicks
off with Gallic superstar Jean Gabin taking center stage in another festival
favorite, <i>Deadlier Than the Male/Voici le temps des assassins </i>(1956), a
most dark noir from one of France’s premier filmmakers, Julien Duvivier (<i>Pepe
le Moko, Panique</i>). Gabin appears in an uncharacteristic role, that of a prominent chef, who is - as is more common with Gabin’s characters - being vamped by
a deceptively sweet young thing (Daniele Delorme). The festival closes with
Christian-Jaque’s dazzling <i>Journey without Hope/Voyage
sans Espoir</i> (1943) a polished, updated rendition of 1931's </span></span></span><span style="font-size: medium;"><span style="font-family: inherit;"><span><span style="font-size: medium;"><span style="font-family: inherit;"><span><i>The Lovers of Midnight/Les amours de minuit</i>. </span></span></span>Lov</span></span></span><span style="font-size: medium;"><span style="font-family: inherit;"><span><span style="font-size: medium;"><span style="font-family: inherit;"><span>e</span></span></span>ly Simone Renant is the nightclub singer caught between her old love, deadly Paul Bernard, and her naive, cash-rich new love, Jean Marais </span></span></span><span style="font-size: medium;"><span style="font-family: inherit;"><span><span style="font-size: medium;"><span style="font-family: inherit;"><span>(<i>Beauty
and the Beast, Orpheus</i>)</span></span></span>. Robert Lefebre's cinematography and Robert Gys's production design are superb. Don Malcolm deems this “the best French noir of the
Occupation era.”</span></span></span></p><p><span style="font-size: medium;"><span style="font-family: inherit;"><span></span></span></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" id="_idgpn_3" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEglt_GCYdn8q8hEeTevyjGPLbM03lhyphenhyphenpi1Uh_LlLWCz9BWemnnE8i3RG4sBEojXlMdznoYXgxRzXAEfBf-hzPZVbWNqUbao5hpKJs8O5oj64W592lwahcR4uvnL0Q7Bdtc4VjXIIQjYEsI/s318/2021+voyage.jpg" id="_idgpn_4" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="159" data-original-width="318" height="200" id="_idgpn_1" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEglt_GCYdn8q8hEeTevyjGPLbM03lhyphenhyphenpi1Uh_LlLWCz9BWemnnE8i3RG4sBEojXlMdznoYXgxRzXAEfBf-hzPZVbWNqUbao5hpKJs8O5oj64W592lwahcR4uvnL0Q7Bdtc4VjXIIQjYEsI/w400-h200/2021+voyage.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Simone Renant in <i>Journey without Hope/Voyage sans espoir</i><br /></td></tr></tbody></table><span style="font-size: medium;"><span style="font-family: inherit;"><span><span style="font-size: medium;"><span style="font-family: inherit;"><span><span style="font-size: medium;"><span style="font-family: inherit;"><span><i> </i></span></span></span></span></span></span></span></span></span></div><div><span style="font-size: medium;"><span style="font-family: inherit;"><span><span style="font-size: medium;"><span style="font-family: inherit;"><span><span style="font-size: medium;"><span style="font-family: inherit;"><span><i>The French Had a Name for It </i>is back and, </span></span></span></span></span></span><span style="font-size: medium;"><span style="font-family: inherit;"><span><span style="font-size: medium;"><span style="font-family: inherit;"><span><span style="font-size: medium;"><span style="font-family: inherit;"><span>to
once again quote Don Malcolm, "we're all ready to resume our journeys on the lost continent of classic
French film noir." </span></span></span></span></span></span>The<i> </i>festival pass<i> </i>covering all three days/eleven films is a bargain at $60, a 20% savings. <b><a href="https://www.roxie.com/ai1ec_event/don-november/?instance_id=43265" id="_idgpn_3">Click here</a></b> for full program details and tickets.</span></span></span> <br /></span></span></span><p></p><p></p><p class="MsoNormal" id="_idgpn_14"><span style="font-size: medium;"><span style="font-family: inherit;"><span></span></span></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" id="_idgpn_14" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZp9f2WHipFTMotlXGGB_DGStPPkVoV_FXTu1SHMxghj6v_Px9-p2ptDq7k9-4iNL4DQ22YRxyGta4aBBA5-wBSS4C81kq2Qsockcm7xBgmfaHmTkAJyIfRbf_TkinINPlwRkpmU__Usc/s630/2021+deadler.jpg" id="_idgpn_15" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="479" data-original-width="630" height="304" id="_idgpn_4" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZp9f2WHipFTMotlXGGB_DGStPPkVoV_FXTu1SHMxghj6v_Px9-p2ptDq7k9-4iNL4DQ22YRxyGta4aBBA5-wBSS4C81kq2Qsockcm7xBgmfaHmTkAJyIfRbf_TkinINPlwRkpmU__Usc/w400-h304/2021+deadler.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Daniele Delorme and Jean Gabin in <i>Deadlier Than the Male/Voici le temps des assassins</i><br /></td></tr></tbody></table><span style="font-size: medium;"><span style="font-family: inherit;"><span><br /></span></span></span></div><div style="text-align: center;"><span style="font-size: medium;">~</span><br /></div><div><span style="font-size: medium;"><span style="font-family: inherit;"><span></span></span></span><p></p><p class="MsoNormal" id="_idgpn_14"><span style="font-size: medium;"><span style="font-family: inherit;"><span></span></span></span></p><span style="font-size: medium;"><span style="font-family: inherit;"><span></span></span></span><p></p><p class="MsoNormal" id="_idgpn_14" style="text-align: center;"></p><p class="MsoNormal" id="_idgpn_14" style="text-align: center;"><span style="font-size: medium;"><span style="font-size: medium; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"></span></span></p><div class="separator" id="_idgpn_6" style="clear: both; text-align: center;"><span style="font-size: medium;"><span style="font-family: inherit;"><span> </span></span></span><span style="font-size: medium;"><span style="font-size: medium; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">Note: <a href="https://www.roxie.com/reopening-safety-protocols/" target="_blank">Health and Safety Precautions</a> are in place for all screenings at the Roxie.</span></span></div><div class="separator" id="_idgpn_6" style="clear: both; text-align: center;"><span style="font-size: medium;"><span style="font-size: medium; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"> <span style="font-size: medium;"><span style="font-size: medium; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"> </span></span></span></span></div><p></p><p></p><span style="font-size: medium;"><span style="font-family: inherit;">
</span></span><input id="idg-io-safe-browsing-enabled" oninit="true" type="hidden" /></div>The Lady Evehttp://www.blogger.com/profile/11963115499930520653noreply@blogger.com2tag:blogger.com,1999:blog-8509825018139758536.post-50861700888328786742021-10-20T13:41:00.030-07:002022-12-30T18:55:42.587-08:00To Be or Not to Be (1942), a Daring Mixed-Genre Satire from Ernst Lubitsch
<p class="MsoNormal"><span style="font-size: medium;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgzTc0l9VC4P0XtLBuNbKdhSGKbxVlJP8uIha1NSJj5TLbYsNOFXpzlv4AGnXaxeUxgnWvfAL1bJDUUwfovjEctatO2rAJjeOebsGx32W1a0ZqZrIqA7ytiBB_KoD97J4knO9xi6nB_-4w/s1200/1942+to+be+poster.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="675" data-original-width="1200" height="277" id="_idgpn_1" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgzTc0l9VC4P0XtLBuNbKdhSGKbxVlJP8uIha1NSJj5TLbYsNOFXpzlv4AGnXaxeUxgnWvfAL1bJDUUwfovjEctatO2rAJjeOebsGx32W1a0ZqZrIqA7ytiBB_KoD97J4knO9xi6nB_-4w/w492-h277/1942+to+be+poster.jpg" width="492" /></a></span></div><span style="font-size: medium;">This Hollywood-savvy item appeared in the December 1932
issue of <i>Vanity Fair</i>, <span> </span><span> </span>“…although a German director [he] is now
claimed by America. His gay and cynic touch, his dramatic use of detail, have
reconditioned many an otherwise anemic script and saved it from the shelf –
until at one time the studio wise-crack of the hour was always, “For God’s
sake, send for Lubitsch.”<span><a name='more'></a></span></span><p></p><p class="MsoNormal"><span style="font-size: medium;"></span></p><span style="font-size: medium;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOo01IWNVUYnimUVzAzrZ1ZJ2N4gpQrQAP-St3yuiKKo3I1ph1MSjz2gPToXRCc8x9ivPBJB1qr5OUaNLpYt0Kt8zuweeATH2IAn6O6WNCdaV6grmfM-7HzvX10KAtvgQdbxC0i4SipG8/s760/1923+Rosita+poster.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="760" data-original-width="550" height="368" id="_idgpn_2" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOo01IWNVUYnimUVzAzrZ1ZJ2N4gpQrQAP-St3yuiKKo3I1ph1MSjz2gPToXRCc8x9ivPBJB1qr5OUaNLpYt0Kt8zuweeATH2IAn6O6WNCdaV6grmfM-7HzvX10KAtvgQdbxC0i4SipG8/w267-h368/1923+Rosita+poster.jpg" width="267" /></a></div>Hollywood first sent for Ernst Lubitsch ten years earlier
when, in 1922, Mary Pickford, impressed with his German films and by then dismissive of
American directors, offered him the opportunity to direct her in a film she hoped
would facilitate her transition from ingenue to mature roles as well as allow her to
prove her depth as an actress. The film was <i>Rosita </i>(1923), an operatic
period piece about a gypsy girl (Pickford) who attracts the amorous attentions
of a philandering king. The film was a success and Lubitsch, who saw great career promise
in Hollywood, was able to settle there, making him one of the first European directors
to depart for the film capital. <span> </span>Lubitsch didn’t
work with Pickford again but soon entered into a sweet deal with Warner Bros.
that assured him great freedom as a filmmaker. He was able to select his own projects, employ his own production staff, retain only writers with whom he wished to
collaborate, and shoot and cut his films with minimal oversight.<span> </span>Lubitsch would go on to make less epic, more
intimate fare, eventually producing and directing a string of witty and urbane films</span><span style="font-size: medium;"><span style="font-size: medium;">, primarily for Paramount and MGM but also for others, </span>that made his
name as one of the great directors of Hollywood’s classic era.</span><p></p><p class="MsoNormal"><span style="font-size: medium;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiEvX7NpVyPmEYdxUURWWZ4-x85ermolx_lFICj7QR1GyHIUY3d5fqdz4BVIMXjQOTEE5RTM62FFUJjoOUd_3yKBUOBvTvVNjXRFVa-Cvv_0TOcge0F6Tv6YH9F6KhcQ-L1dVL67PlUQEE/s492/1932+trouble.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="492" data-original-width="400" height="361" id="_idgpn_3" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiEvX7NpVyPmEYdxUURWWZ4-x85ermolx_lFICj7QR1GyHIUY3d5fqdz4BVIMXjQOTEE5RTM62FFUJjoOUd_3yKBUOBvTvVNjXRFVa-Cvv_0TOcge0F6Tv6YH9F6KhcQ-L1dVL67PlUQEE/w294-h361/1932+trouble.jpg" width="294" /></a></span></div><span style="font-size: medium;">The <i>Vanity Fair</i> blurb appeared not long after one of
Lubitsch’s early sound classics, <i>Trouble in Paradise</i>,<i> </i>was
released by Paramount in October 1932. His next feature would be another cosmopolitan comedy for Paramount, <i>Design for Living </i>(1933). In 1934 he produced and directed the Jeannette
MacDonald/Maurice Chevalier musical, <i>The Merry Widow</i>, for MGM and then –
in a move that surprised most of Hollywood – Paramount hired him as its Chief
of Production in 1935. This assignment lasted only a year and Lubitsch would hastily
return to his métier with <i>Angel </i>(1937), an underappreciated Marlene
Dietrich film. In 1939 it was on to MGM and <i>Ninotchka</i> and then <i>The Shop
Around the Corner</i> in 1940. Lubitsch was now at the pinnacle of his career
and a legend among his peers.</span><p></p><p class="MsoNormal"><span style="font-size: medium;">Meanwhile, war raged in Europe. The political party that
came to be known as the Nazis took power in Germany in January 1933 when Adolf
Hitler became chancellor and within months assumed the role of dictator. When the
German army invaded Poland on September 1, 1939, World War II began in Europe.</span></p><p class="MsoNormal"><span style="font-size: medium;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhnrk9bjAwX2OPA_0zQPXWF0iiZs1-qKmpLJd_FVM1duXsKH0EzF5NqhLJbZrKOmd7Hlvy3GvgPBNv0Df3becTv_fhR0bx02j8asJGvtGbtav7X4Vsa2WEDVq6j_opa1a0rupavkY9OiDM/s421/1942+Lubitsch.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="421" data-original-width="322" height="359" id="_idgpn_4" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhnrk9bjAwX2OPA_0zQPXWF0iiZs1-qKmpLJd_FVM1duXsKH0EzF5NqhLJbZrKOmd7Hlvy3GvgPBNv0Df3becTv_fhR0bx02j8asJGvtGbtav7X4Vsa2WEDVq6j_opa1a0rupavkY9OiDM/w275-h359/1942+Lubitsch.jpg" width="275" /></a></span></div><span style="font-size: medium;">Ernst Lubitsch was Jewish. He may have emigrated from Germany
to pursue a career in Hollywood, but he had also been well aware of the
socioeconomic instability and political unrest in Germany at the time he left. When
Hitler later became dictator, he apparently held special enmity for Lubitsch, a
Jew who had had great success in Germany but left it for even greater success
in the US. Perhaps this had something to do with why Lubitsch became a Nazi target. His image
was used on denigrating public posters depicting degenerate “non-Aryans,” the
Nazi regime banned his films starting with <i>Design for Living </i>in 1933, stripped
him of his citizenship in 1935, and went on to use newsreel footage of him to
negatively depict him in the notorious anti-Semitic propaganda film, <i>The Eternal Jew</i>
(1940). By this time Lubitsch had been a US citizen for four years and would soon
enough respond to Nazism with his audacious masterpiece, <i>To Be or Not to Be </i>(1942).</span><p></p><p class="MsoNormal"><span style="font-size: medium;">With <i>To Be or Not to Be</i>, Lubitsch would reveal an uncanny ability to combine diverse genres, effortlessly mixing and matching elements of political satire, bedroom farce, screwball, slapstick and espionage thriller.<i> </i>The film<i> </i>opens in Warsaw on the eve of the
German occupation where the Theatre Polski, a troupe of Polish actors, is rehearsing its new anti-Nazi play, <i>Gestapo</i>. Bronski<span> </span>(Tom Dugan), the actor who is to play Hitler, is so intent on proving his credibility in the role of the F<span>ü</span>hrer that </span><span style="font-size: medium;"><span style="font-size: medium;">he marches out into the street in costume. </span>His appearance causes a hubbub, frightening and confusing the local citizens...with one exception...</span></p><p class="MsoNormal" style="text-align: center;"><span style="font-size: medium;"></span></p><p class="MsoNormal" style="text-align: center;"><span style="font-size: medium;"></span></p><p class="MsoNormal" style="text-align: center;"><span style="font-size: medium;"><iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/y6sc5BX_g6o" title="YouTube video player" width="560"></iframe></span></p><p class="MsoNormal"><span style="font-size: medium;">When Polish authorities insist that the incendiary play
be cancelled, the group will continue on with <i>Hamlet</i>, featuring the theater company's star, Joseph Tura
(Jack Benny), an inveterate ham, in the lead role. </span><span style="font-size: medium;"><span style="font-size: medium;">The fact that
the troupe got as far as dress rehearsal with the cancelled play will
account for its possession of Nazi uniforms the actors will later use to disguise themselves as the real thing.</span> The staging of<span> </span>Shakespeare's <i>Hamlet</i> will bring with it the line “to
be or not to be,” key to a running gag involving Tura’s flirtatious wife Maria (Carole
Lombard) and the young Polish pilot, Lt. Sobinski (Robert Stack), who is smitten with the actress.</span></p><p class="MsoNormal"><span style="font-size: medium;">The plot deepens. Following the German invasion, Lt. Sobinski discovers that a resistance leader, Professor Siletsky (Stanley Ridges), is actually a Nazi spy who is
about to betray the Polish underground by turning over a list of names to the
Gestapo. Before Siletsky can do this, the theater troupe lures him into a trap where he is dramatically dispatched. Joseph Tura will then impersonate the traitor<span> </span>in a series of tense encounters
that culminate in confrontations that are resolved with - the yanking off of a false beard. Maria
Tura will use her formidable charm to beguile and outwit libidinous
Nazis, and though she does this with amusing panache, even she faces
moments of terror. Bronski will have an off-stage opportunity to again portray Hitler and in doing so will save the day <span> </span>– twice.
Lowly bit player Greenberg (Felix Bressart) will be given a crucial role in the troupe's eventual escape plan, delivering lines he has practiced many times, Shylock’s famed
speech from Shakespeare’s <i>The Merchant of Venice</i>, which he does in a
heartfelt outpouring: <br /></span></p><p class="MsoNormal" style="text-align: center;"><span style="font-size: medium;"><iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/VZ9zyrvLyaI" title="YouTube video player" width="560"></iframe>
</span></p><p><span style="font-size: medium;">Referring to <i>To Be or Not to Be'</i>s convoluted storyline, Francois Truffaut once declared that "...even if you've just seen it for the sixth time, I defy you to tell me the plot of <i>To Be or Not to Be</i>. It's impossible." There may be an element of truth in Truffaut's words, but the fact remains that the film is also a thoroughly entertaining, intelligent, brilliantly written and directed, perfectly cast tour de force. However, at the time of its release many critics were put off by <i>To Be or Not to Be</i>, particularly Bosley Crowther, the powerful, sometimes contemptuous critic with the New York Times. </span><span style="font-size: medium;"><span style="font-size: medium;">Perplexed
by what he considered the film's "jangling moods and baffling humors," he wrote that it would be an understatement to call it
"callous and macabre."</span> </span><span style="font-size: medium;"><span style="font-size: medium;">Crowther panned the film more than once, </span>prompting Lubitsch to pen an op-ed in reply. He wrote, "I am accused of...having violated every traditional form in mixing melodrama and comedy-satire or even farce; of endangering our war effort in treating the Nazi menace too lightly; and of exhibiting extremely bad taste in having chosen present-day Warsaw as a background for comedy." Lubitsch explained that he had intentionally moved "away from the traditional moving-picture formula" with <i>To Be or Not to Be</i>, " I was tired of the two established recognized recipes: drama with comedy relief and comedy with dramatic relief. I had made up my mind to make a picture with no attempt to relieve anybody from anything at any time; dramatic when the situation demands it, satire and comedy whenever it is called for. One might call it a tragical farce or a farcical tragedy - I do not care and neither do the audiences...The picture plays - and that is the only important thing..." Lubitsch would go on to defend lampooning the Nazis along with other aspects of his approach that had been critically slammed. Read the full text of his rebuttal <a href="https://www.nytimes.com/1942/03/29/archives/mr-lubitsch-takes-the-floor-for-rebuttal.html">here</a>.</span></p><p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgDuAPFiqWXIhjMGq6bMcunxSWo-l7ByN9RUHVocXiQWpya_EmGwz7LmdwcfhUUfeF2vXPlCiolmzMVXU2ilC11Aj-8kIIWPdwQsdoQHcpIvXPDqHMlATpzjoGXb76BNNDfU8P1ZcAK58/s1280/1942+to+be+or+not+to+be.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="776" data-original-width="1280" height="319" id="_idgpn_7" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgDuAPFiqWXIhjMGq6bMcunxSWo-l7ByN9RUHVocXiQWpya_EmGwz7LmdwcfhUUfeF2vXPlCiolmzMVXU2ilC11Aj-8kIIWPdwQsdoQHcpIvXPDqHMlATpzjoGXb76BNNDfU8P1ZcAK58/w527-h319/1942+to+be+or+not+to+be.jpg" width="527" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">The Polski troupe: actors rehearsing, seeking shelter as bombs fall, outsmarting Nazis and...(over)acting<br /></td></tr></tbody></table><br /><span style="font-size: medium;"><i>To Be or Not to Be</i> would develop a reputation of having flopped at the box office. The timing of its release was terrible. It came out less than three months after the Japanese attack on Pearl Harbor triggered America's entry into World War II and only six weeks after Carole Lombard's tragic death in an air crash. As mentioned, the film received little critical support, and United Artists wrote it off not long after it opened. But in reality, during its release <i>To Be or Not to Be </i>grossed twice the one million dollars it cost to produce. That's a moderate success, not a flop. And it would go on to earn an Oscar nomination for its score. Still, it was a film ahead of its time. Only later would Hitchcock have enormous success mixing genres (comedy/suspense thriller). Later still, Kubrick would concoct one of the blackest of all anti-war satires with <i>Dr. Strangelove </i>(1964). And even in the modern era <i>To Be or Not to Be</i>'s relevance endures; in 2014 Wes Anderson cited its influence on his multiple award-winning showpiece, <i>The Grand Budapest Hotel</i>.<br /></span><p></p><p><span style="font-size: medium;">As sometimes happens with a true classic, time has been kind to <i>To Be or Not to Be</i>, now an acknowledged masterwork. Among filmmakers and film buffs, Ernst Lubitsch continues to be referenced with a phrase that was coined</span><span style="font-size: medium;"><span style="font-size: medium;"> in his lifetime (1892 - 1947), </span>"the Lubitsch touch." On revisiting <i>To Be or Not to Be</i>, Billy Wilder's thoughts on his mentor's enviable gift as a filmmaker seem apt:</span></p><p><span style="font-size: medium;">"It was the elegant use of the Superjoke. You had a joke,
and you felt satisfied, and then there was one more big joke on top of
it. The joke you didn't expect. That was the Lubitsch touch."</span><i><span style="font-size: medium;"> </span></i></p><p style="text-align: left;"><span style="font-size: medium;">And, perhaps more contemplatively, "The Lubitsch touch is a <i>light</i> touch. But there are serious overtones in Lubitsch. He understood life..."</span><i><span style="font-size: medium;"> </span></i></p><p style="text-align: left;"><i><span style="font-size: medium;"><br /></span></i></p><p style="text-align: center;"><i><span style="font-size: medium;">~ <br /></span></i></p><p style="text-align: left;"><i><span style="font-size: medium;"> This is my entry for the Classic Movie Blog Association's 2021 fall blogathon, "Laughter is the Best Medicine." Click <a href="http://clamba.blogspot.com/2021/10/laughter-is-best-medicine-cmba-fall.html">here</a> for links to participating member blogs. And enjoy!<br /></span></i></p><p style="text-align: center;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi20I3c1bdOn1pHYY7WIi7HC6orosW2gXyjhIz60FCAlrkx-6gUUU7KIt2E4nwU_DqS73p6rCMd0VKx76aP7QJSxLsa9KleRGxnN_PNvrGJKc_PA3h87rA5rwte3ojMVy1U-8h7nK4Va8Q/s640/2021+fall+blogathon.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="480" data-original-width="640" height="322" id="_idgpn_8" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi20I3c1bdOn1pHYY7WIi7HC6orosW2gXyjhIz60FCAlrkx-6gUUU7KIt2E4nwU_DqS73p6rCMd0VKx76aP7QJSxLsa9KleRGxnN_PNvrGJKc_PA3h87rA5rwte3ojMVy1U-8h7nK4Va8Q/w429-h322/2021+fall+blogathon.png" width="429" /></a></div><p style="text-align: center;"><span style="font-size: medium;"> <b>Many thanks to the members of the Classic Movie Blog Association for voting this piece the Best Classic Film Review: Drama for 2022<br /></b></span></p><p style="text-align: center;"><span style="font-size: medium;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSpJjJOUZ-Fh6ogf3ZWYDmif_yQJxWJlWkUq3v1yI7BxZiIojUM9lW9Jx21ByOY_VMnm6WzmGydSsbnFYgiXRCC01k7tjpRf4KiTpQOmOO1RVMUeF0dHcrJZRwDjcFYbXnFGTL729saPyEQR6d2424yEE6kgsgysYU0jPD4XqI1db-s3gr5bKOO18N/s481/CMBA%20Awards_Best%20Film%20Review-Drama%202022.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="481" data-original-width="469" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSpJjJOUZ-Fh6ogf3ZWYDmif_yQJxWJlWkUq3v1yI7BxZiIojUM9lW9Jx21ByOY_VMnm6WzmGydSsbnFYgiXRCC01k7tjpRf4KiTpQOmOO1RVMUeF0dHcrJZRwDjcFYbXnFGTL729saPyEQR6d2424yEE6kgsgysYU0jPD4XqI1db-s3gr5bKOO18N/s320/CMBA%20Awards_Best%20Film%20Review-Drama%202022.jpg" width="312" /></a></span></div><p><span style="font-size: medium;"> </span><span style="font-size: medium;"></span></p><p style="text-align: center;"><span style="font-size: medium;">~<br /></span></p><p></p><p></p><p style="text-align: left;"><span style="font-size: medium;"> <u>References</u>:</span></p><p style="text-align: left;"><span style="font-size: medium;"><i>How Did Lubitsch Do It? by </i>Joseph McBride, Columbia University Press, 2018</span></p><p style="text-align: left;"><span style="font-size: medium;">"The Play's the Thing" by Geoffrey O'Brien for the Criterion Collection, 2013 <br /></span></p><p style="text-align: left;"><span style="font-size: medium;"><i>Romantic Comedy in Hollywood, from Lubitsch to Sturges</i> by James Harvey, Alfred A. Knopf, 1987 </span></p><p style="text-align: left;"><span style="font-size: medium;"><br /> </span><br /></p><input id="idg-io-safe-browsing-enabled" oninit="true" type="hidden" />The Lady Evehttp://www.blogger.com/profile/11963115499930520653noreply@blogger.com21tag:blogger.com,1999:blog-8509825018139758536.post-67435010018513123892021-10-05T09:32:00.016-07:002021-10-23T12:13:12.088-07:00Belmondo before "Breathless" and the comeback of Jean Gabin<div><p class="MsoNormal"></p><div class="separator" style="clear: both; text-align: left;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxHZ2xgOyRy6HsXgkwMPOwtlkUGNIzK9OT3vaGfBiRdo4C647D7q_BsOeiPiJhTHrKvTu5qQw02sJr9dvFy3OZFoRnbBcGhXkQjUpkXYM-BEQJaIc2wdnIL0dOVg-06xKs0m1uDFQWTJQ/s614/French+2021+Roxie.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="208" data-original-width="614" height="206" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxHZ2xgOyRy6HsXgkwMPOwtlkUGNIzK9OT3vaGfBiRdo4C647D7q_BsOeiPiJhTHrKvTu5qQw02sJr9dvFy3OZFoRnbBcGhXkQjUpkXYM-BEQJaIc2wdnIL0dOVg-06xKs0m1uDFQWTJQ/w611-h206/French+2021+Roxie.jpg" width="611" /></a></div><p></p><p class="MsoNormal" style="text-align: center;"><span style="font-size: medium;"><b><span style="font-size: large;">Tributes to Belmondo and Gabin Kick Off a 17-Film Noir Series</span></b><br /></span></p><p class="MsoNormal"><span style="font-size: medium;">One Sunday near the end of February 2020 I spent a sunny
afternoon in the dark at the Roxie Theater in San Francisco watching the first
two films in what was to be a monthly program featuring French, American and
British screen adaptations of the fiction of Georges Simenon, one of the fathers
of film noir. The program, curated and produced by Don Malcolm and his MidCentury
Productions, was called “Simenon 2020” and, as fate would have it, the series
began and ended on that day, a day that also marked the last time I was inside a
movie theater. Covid 19 was about to change everything.</span></p><p class="MsoNormal"><span style="font-size: medium;">But that was then. Now, this month, French noir returns to
the Roxie when MidCentury Productions resurrects its groundbreaking annual series,
<i>The French Had a Name for It</i>. Seventeen films made over five decades, most of them rarely seen outside
of France, will be shown in three installments, on October 24, from November 12 – 14, and on December 12.<span></span></span></p><a name='more'></a><p></p><p class="MsoNormal"><span style="font-size: medium;"></span></p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjkb8rStJP5RpGxEkQHpTSI-HNus8fNG9pGaa0EPAhLxlaabJGRtZgcqSbcBPuWKj3tGB1XlFFmg79vKjX8xxvO-k7XfpecgQ3iETXolDOk7mfjYy4GqYvLwD1mP-m_NcuEtdGDC1BDqeU/s1001/french+double.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="617" data-original-width="1001" height="228" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjkb8rStJP5RpGxEkQHpTSI-HNus8fNG9pGaa0EPAhLxlaabJGRtZgcqSbcBPuWKj3tGB1XlFFmg79vKjX8xxvO-k7XfpecgQ3iETXolDOk7mfjYy4GqYvLwD1mP-m_NcuEtdGDC1BDqeU/w371-h228/french+double.jpg" width="371" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Bernadette Lafont and Jean-Paul Belmondo in <i>A double tour </i><br /></td></tr></tbody></table><p><span style="font-size: medium;"><span style="font-size: medium;">The program for Sunday, October 24, celebrates two undisputed icons of the French cinema, Jean-Paul Belmondo (1933 - 2021) and Jean Gabin (1904 - 1976). Each will be honored with a double feature. The Belmondo films were made just before his rise to worldwide fame in <i>Breathless </i>(1960). <i>Web of Passion</i><i><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">/Á</span> double
tour </i>(1959) is an early film of Hitchcock aficionado Claude Chabrol; <i>The
Cheaters/Les tricheurs </i>(1958), is one of Marcel Carn<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">é’s later works.
Both films are emblematic of their era and reveal Belmondo forging his now familiar screen persona.</span></span></span></p><p><span style="font-size: medium;"><span style="font-size: medium;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"></span></span></span></p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMfL-B25Bg_1KIeDpBOsgR3vCK07AgCIDRchFKSdW1t_bD5rzhrNdyUxO1FP817l1XIBBav2h4IIaVM8ghn7IUp5WfQp-EeBtneDRNSDt2FewJK01QQownwoNtDGHk_SQm3UpKoqqlmXo/s800/French+Grisbi.jpg" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="567" data-original-width="800" height="259" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMfL-B25Bg_1KIeDpBOsgR3vCK07AgCIDRchFKSdW1t_bD5rzhrNdyUxO1FP817l1XIBBav2h4IIaVM8ghn7IUp5WfQp-EeBtneDRNSDt2FewJK01QQownwoNtDGHk_SQm3UpKoqqlmXo/w365-h259/French+Grisbi.jpg" width="365" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Jeanne Moreau and Lino Ventura in <i>Touchez pas au grisbi</i><br /></td></tr></tbody></table><p class="MsoNormal"><span style="font-size: medium;"><span style="font-size: medium;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="font-size: medium;">Jean Gabin will
be showcased with one of his best known films of the 1950s along with a much less familiar picture. <i>Touchez pas au grisbi/Hands Off the Loot! </i>(1954)<i> </i>was
one of two films (the other was Marcel Carné’s <i>L’air de Paris/The Air of Paris</i>)
that brought Gabin the Volpi Cup for Best Actor at the 1954 Venice Film
Festival and revitalized his career. <i>Grisbi</i> was directed by Jacques
Becker and stars Gabin as an aging gangster, a smooth operator who’s pulled off
one last great heist and is about to retire; a young<span style="mso-spacerun: yes;"> </span>Jeanne Moreau and Lino Ventura, in his film
debut, have key supporting roles. <i>People of No Importance/Les gens sans
importance</i> (1956) presents, in Don Malcolm’s words, “a totally different
Gabin, in a darkly poignant love tale. I think people will find the contrast to
be both surprising and illuminating.”</span></span></span></span></p><p class="MsoNormal"><span style="font-size: medium;"><span style="font-size: medium;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="font-size: medium;">Since 2014, when the festival debuted at the Roxie, <i>The French Had a Name for It </i>has showcased more than 100 films. I came upon the festival in 2016 and can say without hesitation, it never, ever disappoints. At "French 3" (Nov. 2016) I was introduced to <i>Le dernier tournant </i>(1939), the first screen adaptation of James M. Cain's <i>The Postman Always Rings Twice</i>, and at "French 5-1/2" (May 2019) I finally saw Jean Renoir's <i>Night at the Crossroads/La nuit du carrefour</i> (1932), one of the first film renderings of Simenon's venerable "Inspector Maigret." These are but a very few of the gems and rare nuggets the festival has returned to the spotlight. And now it's time to begin again, it's time for "French '21." As Don Malcolm puts it, "It's been a long siege for all of us, but we're all ready to resume our journeys on the lost continent of classic French film noir." Yes, we are.<br /></span></span></span></span></p><p></p><p></p><p class="MsoNormal"><span style="font-size: medium;"><span style="font-size: medium; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">Tickets for the Belmondo/Gabin "prelude" program are on sale now. <a href="https://www.midcenturyproductions.com/draft.html"><b><i>Click here</i></b></a> for details and ticket information. Here's the full October - December schedule:<br /></span></span></p><p class="MsoNormal"><span style="font-size: medium;"><span style="font-size: medium; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><span style="font-size: medium; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjAlM6XazKGAYvOdJMiaq-_w5kgYpxIuU1R10CL2J9bUewj5fy4lWGArtEd3XO7OXBp6PbJFU0HnFan_ThMye87WZpChxCkp_QMMPGk8T0cnBMsbKbkq0oSxak4J9ZWvPwROMFfDKUCdo/s1024/French+21+schedule.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="839" data-original-width="1024" height="451" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjAlM6XazKGAYvOdJMiaq-_w5kgYpxIuU1R10CL2J9bUewj5fy4lWGArtEd3XO7OXBp6PbJFU0HnFan_ThMye87WZpChxCkp_QMMPGk8T0cnBMsbKbkq0oSxak4J9ZWvPwROMFfDKUCdo/w551-h451/French+21+schedule.jpg" width="551" /></a></span></span></div><span style="font-size: medium;"><span style="font-size: medium; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><br /></span></span></div><div style="text-align: center;"><span style="font-size: medium;"><span style="font-size: medium; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"> Note: <a href="https://www.roxie.com/reopening-safety-protocols/" target="_blank">Health and Safety Precautions</a> are in place for all screenings at the Roxie.</span></span><br /></div><div><span style="font-size: medium;"><p></p><p class="MsoNormal"><span style="font-size: medium;"></span></p><span style="font-size: medium;"></span><p></p>
</span><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEivhddrJsmQano0OHsZQ8ClP5y_uqqWZeewf__JY5P6P00q0qAFEHQuSUBYmIKLxto7FANw-nG9UB39cuKQh_o3OkBuNC9huZyNr7w5TX25HNunLWnOf37rTfMCXJa3u9taKBtJTG3TjLU/s1270/French+trio.png" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="856" data-original-width="1270" height="256" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEivhddrJsmQano0OHsZQ8ClP5y_uqqWZeewf__JY5P6P00q0qAFEHQuSUBYmIKLxto7FANw-nG9UB39cuKQh_o3OkBuNC9huZyNr7w5TX25HNunLWnOf37rTfMCXJa3u9taKBtJTG3TjLU/w379-h256/French+trio.png" width="379" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Legends, 1969: Belmondo (left) and Gabin (right) with Alain Delon (center)<br /></td></tr></tbody></table><br /><p></p></div>The Lady Evehttp://www.blogger.com/profile/11963115499930520653noreply@blogger.com2tag:blogger.com,1999:blog-8509825018139758536.post-72752464046755867432021-09-13T15:22:00.020-07:002022-09-05T14:59:14.873-07:00Eddie Muller's Dark City: The Lost World of Film Noir, Out of the Past and Into the Present<div><p style="text-align: center;"><b></b></p><div class="separator" style="clear: both; text-align: center;"><b><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiOign1Vv6gi-jMUZ2iGEp68VmGvwNYH00HKg6wu4TCrVcqIrWAWIb0_VCsIPPEnyNBDSUCkEj0dnwh0pKL_Ew8ckQ26OQSIctJh7ip5rr81WWCHAtq6GbxLpPF5mefRQC5ipkpFnpPwZU/s1000/Dark+City+cover.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="805" data-original-width="1000" height="355" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiOign1Vv6gi-jMUZ2iGEp68VmGvwNYH00HKg6wu4TCrVcqIrWAWIb0_VCsIPPEnyNBDSUCkEj0dnwh0pKL_Ew8ckQ26OQSIctJh7ip5rr81WWCHAtq6GbxLpPF5mefRQC5ipkpFnpPwZU/w439-h355/Dark+City+cover.jpg" width="439" /></a></b></div><b><br /></b></div><div style="text-align: center;"><b>
<span style="font-size: large;">Eddie Muller's Original Noir Bible in a New Updated and Expanded Edition</span></b><br /></div><div><p></p><p></p><span style="font-size: medium;"><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjnrY-j5KBgqIc2S6v0hwNbw3dSy0SLtCjuTS8uOlLwDJ0CmctFLIvEOTL05RIl8JVV0o22ixykjbKQNFNTujEzTvlDGfD8_n_huAaMsdos9C70fc6-KwdS91k13BnUmTC01MjKTMP7UGA/s338/Dark+Eddie.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="338" data-original-width="300" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjnrY-j5KBgqIc2S6v0hwNbw3dSy0SLtCjuTS8uOlLwDJ0CmctFLIvEOTL05RIl8JVV0o22ixykjbKQNFNTujEzTvlDGfD8_n_huAaMsdos9C70fc6-KwdS91k13BnUmTC01MjKTMP7UGA/w190-h213/Dark+Eddie.jpg" width="190" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;">Eddie Muller</span><br /></td></tr></tbody></table>Before he was film noir's czar and long before he was a TCM host, Eddie Muller made a decision to take a leap and, as mythologist Joseph Campbell might've put it, follow his bliss. Muller had been a writer with a 16-year run as a print journalist. Now he would become a "wordslinger," peppering the page with gritty prose on a subject about which he was passionate, the film genre that has come to be known as noir. The first edition of <i>Dark City: The Lost World of Film<span><a name='more'></a></span> Noir</i> was published in softcover on May 15, 1998, and quickly sparked interest. The American Cinematheque invited Muller to program a noir festival based on the book at Hollywood's Egyptian Theatre. He did, in March 1999, and the festival went on to become an annual event. In 2003, at the invitation of San Francisco's Castro Theatre, Muller presented the first Noir City film festival in his hometown. This, too, was a huge success that became an annual fête. In 2005, realizing that "a non-profit could get access to [film] archives that were off-limits to most for-profit theaters," Muller founded the Film Noir Foundation. The foundation flourished, finding, preserving and restoring more than thirty films noir over the years. The FNF's annual Noir City festival circuit grew to include several more major US cities, towns like Austin, Boston, Chicago, DC, Detroit and Seattle. Muller became widely hailed as "the czar of noir," an authority on the genre, or sub-genre, or style that is film noir. He would also continue to write fiction and non-fiction as well as write and direct a short film, <i>The Grand Inquisitor </i>(2008). In March 2017, he began hosting a weekly film noir screening, <a href="https://noiralley.tcm.com/">Noir Alley, on TCM</a>; the program was soon established as a Saturday night/Sunday morning staple. Today Eddie Muller continues as one of TCM's regular hosts and film noir is more popular than ever. What a perfect time to update and upgrade the book that started it all, <i>Dark City: The Lost World of Film Noir</i>, with a newly revised, expanded and beautifully turned out hardcover edition.</span></div><div><span style="font-size: medium;"> </span></div><div><span style="font-size: medium;"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiSGoMb0ABOHceawkYY2wxII0pvaGTMPRN1onFHMIWQf143LwB4QnPNGEoItxZjV17jZzwoh5ASTCPFChp6jqs6ARujO3Ow5BLYI3wEb5-jPN0y9wjLCuROxuiFo6PpGc63lz7-bVulJdo/s482/dark+asphalt.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="355" data-original-width="482" height="339" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiSGoMb0ABOHceawkYY2wxII0pvaGTMPRN1onFHMIWQf143LwB4QnPNGEoItxZjV17jZzwoh5ASTCPFChp6jqs6ARujO3Ow5BLYI3wEb5-jPN0y9wjLCuROxuiFo6PpGc63lz7-bVulJdo/w460-h339/dark+asphalt.jpg" width="460" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;">Jean Hagen and Sterling Hayden in <i>The Asphalt Jungle </i>(1950)</span><br /></td></tr></tbody></table></span><span style="font-size: medium;">A gruff command, "Shut up and get in the car," opens our guided tour of Dark City's neighborhoods, streets and points of interest. At every stop en route through this so-called "citadel of civilization," the endless tug of war between established social mores and unruly human nature plays out in countless ways, none of them pretty.</span></div><div><span style="font-size: medium;"> </span></div><div><span style="font-size: medium;"><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7AGoUf75-kYeibCYJCfl3SL_O5TRiZQL_Hc4Z4cn-jq_ZvqwH6TFOfgclF131IVy0LCHvvIutYJ7Mw7tCDm0ZmPmmRqAkCSVGa136iz1Z1Y07gOlyE7RSUaCYrQQY25Eq7HXmKxfbZpM/s633/Dark+Ida.jpg" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="633" data-original-width="391" height="396" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7AGoUf75-kYeibCYJCfl3SL_O5TRiZQL_Hc4Z4cn-jq_ZvqwH6TFOfgclF131IVy0LCHvvIutYJ7Mw7tCDm0ZmPmmRqAkCSVGa136iz1Z1Y07gOlyE7RSUaCYrQQY25Eq7HXmKxfbZpM/w245-h396/Dark+Ida.jpg" width="245" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;">Ida Lupino</span><br /></td></tr></tbody></table><i>Sinister Heights</i> is the "exclusive enclave of the criminally corrupt." Crooked politicians and businessmen, sports promoters and showbiz impresarios live up here. Ambitious kids with special talent or looks oftentimes get sucked into their sketchy schemes. Take, for example, John Garfield </span><span style="font-size: medium;"><span style="font-size: medium;">in <i>Body and Soul </i>(1947) </span> as the young boxer with a future who falls for the promise of riches offered by a corrupt fight promoter. <i>Shamus Flats</i> is the haunt of "gumshoes for hire," gimlet-eyed PIs, or ex-PIs like out-of-luck Robert Mitchum in Jacques Tourneur's mood-soaked rendering of <i>Out of the Past </i>(1947). In <i>Vixenville</i> are found the finest and most formidable femmes fatale, Linda Darnell in <i>Fallen Angel </i>(1945), Joan Bennett in <i>The Woman in the Window </i>(1944) and <i>Scarlet Street</i> (1945), Gene Tierney, most especially fatale in <i>Leave Her to Heaven </i>(1945), Rita Hayworth in <i>Gilda </i>(1946) and <i>The Lady from Shanghai </i>(1947) and simmering/shimmering Ava Gardner who levels Burt Lancaster in <i>The Killers </i>(1946). Another <i>Vixenville</i> resident, Ida Lupino, is profiled and celebrated not only for her acting talent and noir allure, but also for an independent spirit that enabled her to also become a pioneering producer/director. Our visit to Dark City moves through <i>The Precinct </i>("battered bastion of law enforcement")<i>, Hate Street </i>("region of ruined relationships"), <i>The City Desk</i>, <i>Blind Alley </i>("crossroads of coincidence and fate"), <i>The Psych Ward</i>, <i>Knockover Square </i>("district of heists and holdups"), <i>Loser's Lane</i>, <i>The Big House</i>, <i>Thieves' Highway </i>("the risky road out of town") and <i>The Stage Door </i>("enjoy a show...before it's too late"). Every chapter chronicles particular elements of noir, offers backstory and history, provides many film examples and ample coverage of writers, directors, producers and stars. More than a dozen one-to-three-page profiles spotlight the likes of Ida, Garfield, who "gave the early noir ethos its defiant face and voice," and "beatnik cowpoke" Mitchum, as well as Gloria Grahame, Joan Crawford ("Actress as Auteur"), journalist-turned-screenwriter Ben Hecht, Lizabeth Scott, Hitchcock protege-turned-producer Joan Harrison ("The Mistress of Suspense"), Robert Ryan, Sterling Hayden, Steve Cochran ("Last Act for the Town Ladies Man") and ill-fated mad lovers Barbara Payton and Tom Neal.</span></div><div><span style="font-size: medium;"> </span><span style="font-size: medium;"></span><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHZhh_Grkpm5LIWQS-q9HATunBGkHtFrTNzGay4kJfhGydUSlWbMCmDHdM1GBGBKc8UXuQuRP6pj5wyFi3WEQnomyKPasge44PNFux7noYfjC6P0u7hgh067hiBQWO0khzVCJlDqLD-rk/s1050/Dark+Past.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="697" data-original-width="1050" height="324" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHZhh_Grkpm5LIWQS-q9HATunBGkHtFrTNzGay4kJfhGydUSlWbMCmDHdM1GBGBKc8UXuQuRP6pj5wyFi3WEQnomyKPasge44PNFux7noYfjC6P0u7hgh067hiBQWO0khzVCJlDqLD-rk/w489-h324/Dark+Past.jpg" width="489" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;">Robert Mitchum and Jane Greer in <i>Out of the Past </i>(1947)</span><br /></td></tr></tbody></table><p><span style="font-size: medium;">This new edition of <i>Dark City: The Lost World of Film Noir </i>is more than 60 pages longer than the original. It has been, in part, re-edited and rewritten, includes new chapters and a fresh assortment of illustrative photos within its pages along with striking color collages of film noir posters inside its front and back covers. </span><span style="font-size: medium;"><span style="font-size: medium;">All of this plus Eddie Muller's high style, high energy wordsmithery<i> </i>go a long way to make <i>Dark City</i> </span><span style="font-size: medium;">entertaining, engaging and illuminating. </span>For </span><span style="font-size: medium;"><span class="ex-sent first-child t no-aq sents"><span class="mw_t_it">habitués</span></span> of noir as well as those new to the territory, this is a trip not to be missed.<br /></span></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQqFUcre5AK2YhJ6jOGALmPhvGU27ykTBQL6Y12lnfeQWITuqglIvvPTwxECOdoo8XjOu3vLCrNy76KekkzIf2etInSMzkQyJQW6ww9997Yme1UGaMM9T_fIdyY-2EoBPhly0LqpgY4Q4/s800/dark+posters.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="313" data-original-width="800" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQqFUcre5AK2YhJ6jOGALmPhvGU27ykTBQL6Y12lnfeQWITuqglIvvPTwxECOdoo8XjOu3vLCrNy76KekkzIf2etInSMzkQyJQW6ww9997Yme1UGaMM9T_fIdyY-2EoBPhly0LqpgY4Q4/w615-h240/dark+posters.jpg" width="615" /></a></div><div style="text-align: center;"><i>Many thanks to Taryn Jacobs/TCM and Running Press for a review copy of </i>Dark City: The Lost World of Film Noir, <i>a book I unreservedly recommend.</i></div></div>The Lady Evehttp://www.blogger.com/profile/11963115499930520653noreply@blogger.com6tag:blogger.com,1999:blog-8509825018139758536.post-18454779159685526632021-08-12T20:52:00.016-07:002021-10-11T10:28:32.869-07:00Old Hollywood Haunts, Pt. 3: The Hollywood Canteen, 1942 - 1945<p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-WZ1tJYzQHQEyz5CXwU8atmxUnfNCA-zN1E8i5JJfQksdDmqrv1kHG0DbnuBZEHq2v_sVT4wD5hWBfKkn4eRSfnB4sIAcqV288KxyV8GqvaK-puDdvgVGxFEura5T0SstWzI8ExHkid4/s1092/Hollywood+Canteen.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="997" data-original-width="1092" height="459" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-WZ1tJYzQHQEyz5CXwU8atmxUnfNCA-zN1E8i5JJfQksdDmqrv1kHG0DbnuBZEHq2v_sVT4wD5hWBfKkn4eRSfnB4sIAcqV288KxyV8GqvaK-puDdvgVGxFEura5T0SstWzI8ExHkid4/w502-h459/Hollywood+Canteen.jpg" width="502" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Clockwise from top: Bette Davis and John Garfield; Rita Hayworth; Hedy Lamarr and Bob Hope; GIs at the Canteen<br /></td></tr></tbody></table><p style="text-align: center;"><span style="font-size: medium;"> <b>A Very Special "Old Hollywood Haunt"<br /></b></span></p><p><span style="font-size: medium;">In her 1987 m</span><span style="font-size: medium;">emoir,<i> This 'n That</i>,<i> </i>Bette Davis </span><span style="font-size: medium;">rem</span><span style="font-size: medium;">emb</span><span style="font-size: medium;">er</span><span style="font-size: medium;">ed a </span><span style="font-size: medium;"><span style="font-size: medium;">day not long </span>after World War II began when f</span><span style="font-size: medium;"><span style="font-size: medium;">ellow Warn</span></span><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;">er Bros. star</span></span> John Garfield sat down n</span><span style="font-size: medium;"><span style="font-size: medium;">ext to h</span></span><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;">er in th</span></span></span><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;">e studio </span></span></span></span><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;">commissary. </span></span></span></span></span><span style="font-size: medium;">He told h</span><span style="font-size: medium;"><span style="font-size: medium;">er h</span></span><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;">e'd </span></span>been thinking about all th</span><span style="font-size: medium;"><span style="font-size: medium;">e </span>GIs who w</span><span style="font-size: medium;"><span style="font-size: medium;">er</span></span><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;">e th</span></span></span><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;">en </span></span></span>streaming through th</span><span style="font-size: medium;"><span style="font-size: medium;">e ar</span></span><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;">ea</span></span></span><span style="font-size: medium;"> and said </span><span style="font-size: medium;">h</span><span style="font-size: medium;"><span style="font-size: medium;">e thought </span>Hollywood ought to do som</span><span style="font-size: medium;"><span style="font-size: medium;">ething about w</span></span><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;">elcom</span>ing and </span></span><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;">ent</span></span></span><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;">ertaining th</span></span></span></span><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;">em while they were in town</span></span></span></span>. "I agreed," sh</span><span style="font-size: medium;"><span style="font-size: medium;">e</span> wrot</span><span style="font-size: medium;"><span style="font-size: medium;">e, "</span>and then and there the idea for the Hollywood Canteen was born." Bette approached her friend and agent, Jules Stein, president and co-founder of MCA, with their plan to create</span><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"> </span></span>a nightclub for servicemen and women</span><span style="font-size: medium;"> </span><span style="font-size: medium;">and invited him to head its financial committee.<span></span></span></p><a name='more'></a><p></p><p><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"></span></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9NDsys-RkmKZInDylMEK8rWX-SbEXL2-puw42zidJgaBYGgKWeWj8vz4Za-xh80RfsfudrNozewZBCcYfEuXBWJ8SZErC7vVHA1rdbJJBKF_nXaPEZtsVUTPxmMwWtsPTAXJ5yBsOxYI/s776/canteen+the+talk.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="776" data-original-width="600" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9NDsys-RkmKZInDylMEK8rWX-SbEXL2-puw42zidJgaBYGgKWeWj8vz4Za-xh80RfsfudrNozewZBCcYfEuXBWJ8SZErC7vVHA1rdbJJBKF_nXaPEZtsVUTPxmMwWtsPTAXJ5yBsOxYI/w309-h400/canteen+the+talk.jpg" width="309" /></a></span></span></span></div><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;">The Hollywood Canteen modeled itself on New York City's recently organized Stage Door Canteen and, though ind</span></span></span><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;">ep</span></span></span></span><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;">end</span></span></span></span></span><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;">ent,</span></span></span> Hollywood</span></span></span><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"> </span></span></span></span></span></span>became affiliated with New York through the American Theatre Wing. A free-of-charge nightspot for servicemen and women (no officers, Garfield insisted) without restriction on race or gender, it would serve those stationed in or moving through the Los Angeles area and would require only a uniform for ID. Bette Davis led the group as president, John Garfield served as vice president and Jules Stein oversaw finances. </span>The project launched with a "double ticket" fundraiser, the Hollywood premiere of <i>The Talk of the Town</i> and a "supper dance" at Ciro's, one of Hollywood's top nightclubs. Admission was $10, and $6,500 in tickets were sold </span></span><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;">($109,000 in 2021 dollars). A building at 1451 Cahuenga Blvd., just off Sunset, had been located and was leased for $100 a month.<br /></span></span></span></span><p></p><p><span style="font-size: medium;">The canteen opened on October 3, 1942. That night, thousands of members of the armed services were greeted with</span><span style="font-size: medium;"> hospitality, food and drink, dancing and entertainment provided by some of Hollywood's biggest stars. Because the club was packed to capacity through the evening, an estimated 5,000 eligible men and women had to be turned away. Bette Davis said it was so crowded that she had to crawl through a window to get in. To help fund the canteen's operating costs, bleachers had been built outside on both sides of the entrance so civilian spectators - paying $100 each - could be part of opening night and cheer guests and star volunteers as they arrived. $10,000 was raised from </span><span style="font-size: medium;">bleacher seat sales (about $167,000 today).<br /></span></p><p><span style="font-size: medium;"></span></p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4UviGcj-mYGFrjFD_TSowK_fIcN9YHmLdBmPn-9x4SetcGG_QakavN18ts3n4u7TwB5Rqcu7cTxpi-995vR5TWEHIAh_VKt6wlywQ48Uj9WKGtdb0KO6vw2ubJOhdHg3S17NwUe6ww3I/s500/Canteen-Cary-CowboyHeaven.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="369" data-original-width="500" height="295" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4UviGcj-mYGFrjFD_TSowK_fIcN9YHmLdBmPn-9x4SetcGG_QakavN18ts3n4u7TwB5Rqcu7cTxpi-995vR5TWEHIAh_VKt6wlywQ48Uj9WKGtdb0KO6vw2ubJOhdHg3S17NwUe6ww3I/w400-h295/Canteen-Cary-CowboyHeaven.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Cary Grant in the house (see mural on back wall, chandelier overhead)<br /></td></tr></tbody></table><span style="font-size: medium;"><span style="font-size: medium;">Formerly a livery stable, the cant</span></span><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;">e</span></span></span><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;">en</span></span>'s decor r</span></span><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;">efl</span></span></span><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;">ect</span></span></span></span><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;">ed</span></span></span> the building's Old West roots. Its sign was a swirl of rope lettering, its ceiling was supported by massive wooden beams and its chandeliers were fashioned from old wagon wheels and kerosene lanterns. One of David Selznick's art directors, Alfred Ybarra, conceived the design and studio craftsmen built it out. The Screen Cartoonists Guild hand-painted a mural called "Cowboy Heaven" on one wall and on the opposite wall the Motion Picture Illustrators depicted "Frankie and Johnny" and "The Shooting of Jesse James." All in all, it was a perfect setting for a cowboy star like Roy Rogers to ride his Palomino, Trigger, onstage and perform rodeo tricks for the crowd - which he did.<br /></span></span><p></p><p><span style="font-size: medium;"></span></p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2GFDlXTIM6Ktab9hHA4NaN_tNMtjFpG2olKllrchc-OPC-GTI3LGTDz6Fg7-31GwpvuLsEJnTTfronbQO2x4xLydDyNXK8ac3otC61Q-viPGo6xvuclpAwaSSHVAG8Lwa6E7sZjAZzD8/s500/Ava+canteen.jpg" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="396" data-original-width="500" height="253" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2GFDlXTIM6Ktab9hHA4NaN_tNMtjFpG2olKllrchc-OPC-GTI3LGTDz6Fg7-31GwpvuLsEJnTTfronbQO2x4xLydDyNXK8ac3otC61Q-viPGo6xvuclpAwaSSHVAG8Lwa6E7sZjAZzD8/s320/Ava+canteen.jpg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Ava Gardner and a very happy sailor<br /></td></tr></tbody></table><span style="font-size: medium;"><span style="font-size: medium;">Though the decor evoked "a touch of the old frontier," the canteen's atmosph</span><span style="font-size: medium;"><span style="font-size: medium;">er</span></span><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;">e </span></span>sizzl</span><span style="font-size: medium;">ed</span><span style="font-size: medium;"><span style="font-size: medium;"> with Tins</span></span><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;">elt</span></span>own glamour. A soldier might share a dance with Lana Turner or Ava Gardner, be served food and drink by Linda Darnell or Hedy Lamarr, listen to Sinatra croon or dance to Duke Ellington and his orchestra - or be part of the audience </span><span style="font-size: medium;">for </span><span style="font-size: medium;">Bob Hope's hit radio program when it broadcast live from the stage. Or...Sinatra might be behind the bar, Louis Armstrong might be serving a homemade pudding made from his own recipe, and Judy Garland might be singing. On almost every night visitors would see Roddy McDowall bussing tables. It was mega-watt Hollywood showbiz star power in support of the war effort. Bette Davis made sure that at least a few top celebrities would be on hand each of the six nights a week and Sunday afternoon/evenings that the club was open and if someone had to drop out, she would fill in for them.</span></span><p></p><p><span style="font-size: medium;"></span></p><div style="text-align: left;"><span style="font-size: medium;"><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvxNc7igvKnhJdDtfRsGyPR67mbAPjIJLF8VtKP0dCSlNCWt78GnojFGwXpXzuaCiIifXJ2k90ZEMicvIYGPGPT21ctI-YFLsaUdWwOl5FXS-NP8vnc48b-9nHJVobcJvgaZF47nXzGus/s881/Canteen+kismet+%25282%2529.jpeg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="881" data-original-width="614" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvxNc7igvKnhJdDtfRsGyPR67mbAPjIJLF8VtKP0dCSlNCWt78GnojFGwXpXzuaCiIifXJ2k90ZEMicvIYGPGPT21ctI-YFLsaUdWwOl5FXS-NP8vnc48b-9nHJVobcJvgaZF47nXzGus/w279-h400/Canteen+kismet+%25282%2529.jpeg" width="279" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Marlene, still covered in gold paint<br /></td></tr></tbody></table>There were some especially memorable nights, legendary evenings like the time Marlene Dietrich </span><span style="font-size: medium;"><span style="font-size: medium;">created mass hysteria when she </span>came to the canteen straight from the set of <i>Kismet </i>still covered in gold paint. And there was the Christmas Eve when, on the spur of the moment, Bing Crosby appeared at the canteen's kitchen door with his three young sons. "I thought maybe we could help out tonight," he said, and then he and his boys proceeded to sing Christmas carols for all the homesick young soldiers and sailors, WACS and WAVES gathered there. It was a big night for one particular soldier, Sgt. Carl Bell, on September 15, 1943, when he arrived and discover</span><span style="font-size: medium;"><span style="font-size: medium;">ed</span> he was the canteen's 1,000,000th guest; Bell was escorted inside by Marlene Dietrich and got a kiss from Betty Grable. And it was at the Hollywood Canteen that Hedy Lamarr met third husband, John Loder while washing dishes. Likewise, Betty Grable first met bandleader Harry James at the canteen and they also eventually married</span><span style="font-size: medium;">.</span></div><p></p><p><span style="font-size: medium;">Hollywood and its stars were generous with more than their time. In 1943, Warner Bros. produced the all-star musical <i>Thank Your Lucky Stars</i>, a fundraiser featuring many of the studio's stars and contract players. Jack Warner paid $50,000 to each cast member who appeared - with top-liners including Bette, Bogie, Errol, Olivia and Ida - all of whose paychecks were gladly donated, along with box office receipts, to the canteen - bringing in a total of $2,000,000. The following year Warners produced <i>The Hollywood Canteen</i>, a fictionalized account of the real club, with star salaries and 40% of the box office going to the canteen. Since the weekly food bill alone cost $3,000, the organization depended on such generosity. Cary Grant's donation of a piano was also cheerfully accepted...<br /></span></p><p><span style="font-size: medium;"></span></p><p><span style="font-size: medium;"></span></p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGI1lG30-xqnULgvwIxkiehqnde8CJwTDa2cEAGiX-umuuHVnWDW_5Qacc_UOK4LP67QGfCx6bQigaVAKzQaTLdoYIpiXg6gnSvR8LYiS_c6sigxy4kiTbjyYOFwwwpAtFkkg8fN8XZjw/s960/canteen+hall+of+honor.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="700" data-original-width="960" height="291" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGI1lG30-xqnULgvwIxkiehqnde8CJwTDa2cEAGiX-umuuHVnWDW_5Qacc_UOK4LP67QGfCx6bQigaVAKzQaTLdoYIpiXg6gnSvR8LYiS_c6sigxy4kiTbjyYOFwwwpAtFkkg8fN8XZjw/w400-h291/canteen+hall+of+honor.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Marlene Dietrich, Bob Hope and Bette Davis survey the Hall of Honor<br /></td></tr></tbody></table><p><span style="font-size: medium;">When the war began, s</span><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;">ev</span></span></span></span></span></span></span><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;">eral mal</span></span></span></span></span></span></span></span></span></span></span></span></span><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;">e stars w</span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;">er</span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;">e unabl</span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;">e to s</span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;">er</span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span><span style="font-size: medium;">v</span><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;">e in th</span></span></span></span></span></span></span><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;">e military</span></span></span></span></span></span></span></span></span></span></span></span> for medical reasons; Errol Flynn, Frank Sinatra, Gary Cooper and Van Johnson, to name a few. Other actors were classifi</span><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;">ed as </span></span></span></span></span></span>too old, like Joel McCrea, and others were given family deferments (John Wayne) or served briefly and given dependency discharges (Robert Mitchum). These men would giv</span><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;">e </span></span></span></span></span></span>their valuabl</span><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;">e </span></span></span></span></span></span>talent and fame in support of the troops by volunteering at the canteen, entertaining with the USO, and selling war bonds. </span><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;">John Garfield was among those classified 4F. It was only when he tried to enlist and was rejected that he discovered he had a heart condition. Garfield's desire to serve was one reason that drove him to co-found the Hollywood
Canteen and remain deeply devoted to it. There were many other actors, though, who were able to serve and the town was justifiably proud of them. When the canteen celebrated its first anniversary, a new wall display was unveiled. The Hall of Honor was covered with photos of Hollywood luminaries serving in World War II. Among them were Clark Gable, James Stewart, Henry Fonda, Tyrone Power and Douglas Fairbanks, Jr. <br /></span></span></span></p><div class="separator" style="clear: both; text-align: center;"></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEitxuefTAYFwktAs78nvl83sjzO8TmdyiLZomMrSOls-2E8t4HF9pmoECO_lS3LM9uRaNFH-RqyWSa25tknj8HK4Cl0NewHmdgJmlsfjb0sjxSlskNj7YL0JaWLYOl8Zp98n5JOxzW29QM/s1371/Canteen+thanks.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="664" data-original-width="1371" height="233" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEitxuefTAYFwktAs78nvl83sjzO8TmdyiLZomMrSOls-2E8t4HF9pmoECO_lS3LM9uRaNFH-RqyWSa25tknj8HK4Cl0NewHmdgJmlsfjb0sjxSlskNj7YL0JaWLYOl8Zp98n5JOxzW29QM/w480-h233/Canteen+thanks.jpg" width="480" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Thanksgiving at the canteen; at left, Claude Rains and Edward Arnold carve and serve<br /></td></tr></tbody></table><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"></span></span></span></div><p></p><p></p><p><span style="font-size: medium;">The Hollywood Canteen hustled and bustled for the duration of the war and after. On Thanksgiving Day, November 22, 1945, the club welcomed guests for the last time. It would be their first major holiday in the US since the war began for many of the attending servicemen and women, and they wouldn't be disappointed. A 10-hour stage show was headlined by comedy stars Bob Hope and Jack Benny and included appearances by Ingrid Bergman, Hedy Lamarr, James Stewart, Henry Fonda, Edward G. Robinson, Kay Kyser's band and more. Of course, a full course Thanksgiving dinner was also served. </span></p><p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3PhSn7JDr6eabLYScXQpxafNVHh-59j77kWwDZTSZsL3sPt6Lr82g_HAEJw6rT9BtMuPUhEuvt20VNA3gIXajyAxBEeppjej2qaPSd7MmpnNkBIueB0JkIO6jOWn974GZ3cLZlBpMh8w/s1452/Canteen+Milani.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="958" data-original-width="1452" height="264" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3PhSn7JDr6eabLYScXQpxafNVHh-59j77kWwDZTSZsL3sPt6Lr82g_HAEJw6rT9BtMuPUhEuvt20VNA3gIXajyAxBEeppjej2qaPSd7MmpnNkBIueB0JkIO6jOWn974GZ3cLZlBpMh8w/w400-h264/Canteen+Milani.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Chef Milani in his autographed jacket with Jane Wyman (left) and Clark Gable (right)<br /></td></tr></tbody></table><p><span style="font-size: medium;">During its run, the canteen entertained 3 million members of the military. It served 9 million cups of coffee, 6 million pieces of cake, 125,000 gallons of milk and gave away 3 million packs of cigarettes. All of this was managed by nine paid staff and 600 nightly volunteers including dance hostesses recruited by Jules Stein's wife, Doris. According to Bette, the pool of regular volunteers numbered about 6,000 individuals from all areas of the film industry. Mrs. Stein had, on her own, enlisted 3,500 women into her dance volunteer pool. In the end, a surplus of $500,000 remained on the canteen's books when it closed, which Bette attributed to Jules Stein's "financial genius." This money would be donated to an array of veterans' relief funds. Bette would also heap praise on others whose commitment to the canteen whos</span><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;">e contributions sh</span></span></span></span></span></span><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;">e r</span></span></span></span></span></span></span></span></span></span></span></span><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;">eli</span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;">ed upon</span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span><span style="font-size: medium;">. Along with the Steins, there was Chef Milani, a well-known Italian chef with a radio show on LA's KFWB (and later KCOP TV). Milani was in charge of canteen meals and would often base them on US regional cuisines. She remembered his "enormous" contribution in soliciting free food donations for the canteen. Director John Ford's wife, Mary, was in charge of the kitchen from the first day to the last</span><span style="font-size: medium;"> (3,000 sandwiches were made in that kitchen daily). Kay Kyser's band played every Saturday and they never missed a night that Bette could recall, even flying in from out of town when they had to.</span></p><p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRE4FnjJR9dC189mVeAsWpmkukPf53sCq_4wMwp13acsY7sIt5_7XKEBtMRyJN0JY9sU-b2VFFltn0UP0BtwoOOtYu3rCcQn8oEApzyGpudl71CYUcLpIfLITu0N0q65qGmpf29s3bvuU/s744/canteen+bing+and+Mary+Ford.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="612" data-original-width="744" height="263" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRE4FnjJR9dC189mVeAsWpmkukPf53sCq_4wMwp13acsY7sIt5_7XKEBtMRyJN0JY9sU-b2VFFltn0UP0BtwoOOtYu3rCcQn8oEApzyGpudl71CYUcLpIfLITu0N0q65qGmpf29s3bvuU/s320/canteen+bing+and+Mary+Ford.jpg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Bing Crosby and Mary Ford with sandwiches<br /></td></tr></tbody></table><p><span style="font-size: medium;"><span style="font-size: medium;">It had been an immense undertaking that required, and got, solid and ongoing film industry support. With this, the canteen was able to provide consistently first-rat</span></span><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;">e</span></span></span></span></span></span> entertainment and hospitality to US and Allied members of the military throughout World War II. In her memoir, canteen linchpin Bette Davis would look back on those years with satisfaction and declare, "There are few accomplishments in my life that I am sincerely proud of. The Hollywood Canteen is one of them." </span></span></p><p style="text-align: center;"><span style="font-size: medium;"><span style="font-size: medium;"><iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/Z2Zx6m48nnU" title="YouTube video player" width="560"></iframe>
</span></span></p><p style="text-align: center;"><span style="font-family: arial; font-size: small;"><span>Movietone News visits the Hollywood Canteen at Christmastime</span></span><br /></p><p><span style="font-size: medium;"><span style="font-size: medium;"><u>References</u></span></span></p><p><span style="font-size: medium;"><span style="font-size: medium;"><i>This 'n That</i> by Bette Davis with Michael Herskowitz, G.P. Putnam's Sons, 1987</span></span></p><p><span style="font-size: medium;"><span style="font-size: medium;">"<a href="http://disneybooks.blogspot.com/2018/04/this-just-in-thanks-to-garry-apgar-and.html">Canteen Muralized</a>," Disney History, April 2, 2018 <br /></span></span></p><p><a href="http://nationalww2museum.org"><span style="font-size: medium;"><span style="font-size: medium;">nationalww2museum.org</span></span></a></p><p><span style="font-size: medium;"><span style="font-size: medium;">"<a href="https://cometoverhollywood.com/2017/11/23/thanksgiving-at-the-hollywood-canteen/" target="_blank">Thanksgiving at the Hollywood Canteen</a>," Comet Over Hollywood, Nov. 23, 2017</span></span></p><p><span style="font-size: medium;"><span style="font-size: medium;"></span></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEheHQl5Z0UlQsq6xsWuTfuNW7raDme3d7-UCBQ6Frm2LYtGiadq_177bZ-SWABaKq9e25RFzmXb-HKyO7q6XWbUm8N6r7O_U6UsskuTcTCO8XemTP67DQJjMWOoUh4VOfR-DFmhPJnTQFc/s475/canteen+bd+serving.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="401" data-original-width="475" height="338" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEheHQl5Z0UlQsq6xsWuTfuNW7raDme3d7-UCBQ6Frm2LYtGiadq_177bZ-SWABaKq9e25RFzmXb-HKyO7q6XWbUm8N6r7O_U6UsskuTcTCO8XemTP67DQJjMWOoUh4VOfR-DFmhPJnTQFc/w400-h338/canteen+bd+serving.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Bette Davis serving the troops at the Hollywood Canteen<br /></td></tr></tbody></table><p><span style="font-size: medium;"><span style="font-size: medium;"><br />The <a href="https://www.ladyevesreellife.com/p/old-hollywood-haunts.html">"Old Hollywood Haunts" series</a> was voted the Best Film Series of 2021 by the Classic Movie Blog Association. Thanks to the members for the honor!</span></span></p><p><span style="font-size: medium;"><span style="font-size: medium;"></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><span style="font-size: medium;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXd0lI_ZdMSu_1ZNW3ZkPgWv0WasRH2Hn26hU49cN_znv0v0htpooYwikgtpKk58-s9369k7MANTjRDBZkO6qUWbpvvotlRZNkFNXhUlV2JjU_yDSYTb2qwJ_uDDLVYAzMg2QQiUwrUag/s611/2021+CMBA+Series.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="611" data-original-width="494" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXd0lI_ZdMSu_1ZNW3ZkPgWv0WasRH2Hn26hU49cN_znv0v0htpooYwikgtpKk58-s9369k7MANTjRDBZkO6qUWbpvvotlRZNkFNXhUlV2JjU_yDSYTb2qwJ_uDDLVYAzMg2QQiUwrUag/s320/2021+CMBA+Series.jpg" width="259" /></a></span></span></div><span style="font-size: medium;"><span style="font-size: medium;"><br /> </span></span><p></p>The Lady Evehttp://www.blogger.com/profile/11963115499930520653noreply@blogger.com4tag:blogger.com,1999:blog-8509825018139758536.post-74230616826725436672021-06-20T14:15:00.013-07:002021-10-22T11:36:06.615-07:00Summer's Here and the Time is Right for ... SUMMER MOVIES<p><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg22B54gje2wtml5RJLCjGx0TG35B6aJi-4QD7BuBQRo6q6i-or_u4aY7fdcn1s8bL0mkkDoLXQ5mcehuftrlnOBeUaVPcfoHXxeFXQmIO73inCsqCksPFe36B1YfXaltRQxzCjIZn9IZA/s600/Summer+Movies.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="361" data-original-width="600" height="393" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg22B54gje2wtml5RJLCjGx0TG35B6aJi-4QD7BuBQRo6q6i-or_u4aY7fdcn1s8bL0mkkDoLXQ5mcehuftrlnOBeUaVPcfoHXxeFXQmIO73inCsqCksPFe36B1YfXaltRQxzCjIZn9IZA/w627-h393/Summer+Movies.jpg" width="627" /></a><span style="font-family: inherit;"><span style="font-size: medium;">Just in time for summer, TCM and Running Press offer John Malahy's delectably readable <i>Summer Movies: 30 Sun-Drenched Classics. </i>Featuring summertime-set films dating from the '20s (<i>Lonesome</i>/1928) to the present day (<i>Call Me by Your Name</i>/2017), it's a wide-ranging collection, detailed, photo-packed and filled with tantalizing backstory.<span></span></span></span></p><a name='more'></a><p></p><p><span style="font-family: inherit;"><span style="font-size: medium;"></span></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimt3V4Cwv0Htx3BpfjBf2l4-H6cBTJRVPaQ4noyMfLGzX-asFZv9Q4S9GezAM1GZ2JD3mtHXOEOGcQ34TpVRt7whz7V_9S2iKN75WE5hnZzImVvW7M6OPXz-Le_5d1UfugmzuUH4F7pQc/s757/Summer+book+image.JPG" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="693" data-original-width="757" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimt3V4Cwv0Htx3BpfjBf2l4-H6cBTJRVPaQ4noyMfLGzX-asFZv9Q4S9GezAM1GZ2JD3mtHXOEOGcQ34TpVRt7whz7V_9S2iKN75WE5hnZzImVvW7M6OPXz-Le_5d1UfugmzuUH4F7pQc/s320/Summer+book+image.JPG" width="320" /></a><span style="font-family: inherit;"><span style="font-size: medium;"></span></span></div><p><span style="font-family: inherit;"><span style="font-size: medium;">In his quest to "reflect the full range of how summer has been depicted on screen," Malahy explores films as diverse as the Bergman art house classic, <i>Smiles of a Summer Night </i>(1955), and the Harold Ramis pure-'80s farce, <i>Caddyshack </i>(1980). Naturally included are "beach movies" like <i>Gidget </i>(1959) and <i>Beach Blanket Bingo </i>(1965) as well as the seaside thriller that would become the first ever "summer blockbuster," Steven Spielberg's <i>Jaws </i>(1975) - the inspiration for this book.</span></span></p><p><span style="font-family: inherit;"><span style="font-size: medium;">While this collection is </span></span><span style="font-family: inherit;"><span style="font-size: medium;">Malahy's</span></span><span style="font-family: inherit;"><span style="font-size: medium;"><span face=""Calibri",sans-serif" style="font-size: 12pt; line-height: 115%; mso-ansi-language: EN-US; mso-ascii-theme-font: minor-latin; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US; mso-hansi-theme-font: minor-latin;"></span> own "subjective sampling," he encourages readers to continue to explore beyond his book. Th</span></span><span style="font-family: inherit;"><span style="font-size: medium;"><span style="font-family: inherit;"><span style="font-size: medium;">e </span></span></span></span><span style="font-family: inherit;"><span style="font-size: medium;"><span style="font-family: inherit;"><span style="font-size: medium;">author hims</span></span></span></span><span style="font-family: inherit;"><span style="font-size: medium;">elf </span></span><span style="font-size: medium;"><span style="font-family: inherit;">can't r</span></span><span style="font-family: inherit;"><span style="font-size: medium;">esist </span></span><span style="font-family: inherit;"><span style="font-size: medium;">exploring </span></span><span style="font-family: inherit;"><span style="font-size: medium;"><span style="font-family: inherit;"><span style="font-size: medium;"><span style="font-family: inherit;"><span style="font-size: medium;"><span style="font-family: inherit;"><span style="font-size: medium;">furth</span></span></span></span></span></span></span></span><span style="font-family: inherit;"><span style="font-size: medium;"><span style="font-family: inherit;"><span style="font-size: medium;"><span style="font-family: inherit;"><span style="font-size: medium;"><span style="font-family: inherit;"><span style="font-size: medium;"><span style="font-family: inherit;"><span style="font-size: medium;">er</span></span></span></span></span></span></span></span></span></span><span style="font-family: inherit;"><span style="font-size: medium;"><span style="font-family: inherit;"><span style="font-size: medium;"><span style="font-family: inherit;"><span style="font-size: medium;"><span style="font-family: inherit;"><span style="font-size: medium;"><span style="font-family: inherit;"><span style="font-size: medium;">. A</span></span></span></span></span></span></span></span>long with each of th</span></span><span style="font-family: inherit;"><span style="font-size: medium;"><span style="font-family: inherit;"><span style="font-size: medium;">e</span></span> 30 movi</span></span><span style="font-family: inherit;"><span style="font-size: medium;"><span style="font-family: inherit;"><span style="font-size: medium;">es chos</span></span></span></span><span style="font-family: inherit;"><span style="font-size: medium;"><span style="font-family: inherit;"><span style="font-size: medium;"><span style="font-family: inherit;"><span style="font-size: medium;">en</span></span></span></span>, h</span></span><span style="font-family: inherit;"><span style="font-size: medium;"><span style="font-family: inherit;"><span style="font-size: medium;">e r</span></span></span></span><span style="font-family: inherit;"><span style="font-size: medium;"><span style="font-family: inherit;"><span style="font-size: medium;"><span style="font-family: inherit;"><span style="font-size: medium;">ecomm</span></span></span></span></span></span><span style="font-family: inherit;"><span style="font-size: medium;"><span style="font-family: inherit;"><span style="font-size: medium;"><span style="font-family: inherit;"><span style="font-size: medium;"><span style="font-family: inherit;"><span style="font-size: medium;">ends a </span></span></span></span></span></span>second summer movie for a "double feature" experience and also includ</span></span><span style="font-family: inherit;"><span style="font-size: medium;">es a</span></span><span style="font-family: inherit;"><span style="font-size: medium;"> "vacation inspiration" sugg</span></span><span style="font-family: inherit;"><span style="font-size: medium;"><span style="font-family: inherit;"><span style="font-size: medium;">estion</span></span> with </span></span><span style="font-family: inherit;"><span style="font-size: medium;"><span style="font-family: inherit;"><span style="font-size: medium;">ev</span></span></span></span><span style="font-family: inherit;"><span style="font-size: medium;"><span style="font-family: inherit;"><span style="font-size: medium;"><span style="font-family: inherit;"><span style="font-size: medium;">ery</span></span> </span></span></span></span><span style="font-family: inherit;"><span style="font-size: medium;"><span style="font-family: inherit;"><span style="font-size: medium;"><span style="font-family: inherit;"><span style="font-size: medium;">entry</span></span></span></span>. For example<i>, Key Largo </i>(1948), among the primary entries and a film set in the Florida Keys, is double-billed with <i>Body Heat </i>(1981), the steamy neo-noir set in South Florida. The vacation inspiration for <i>Key Largo </i>highlights the area's diving attractions as well as the fact that the steamboat from another Bogart vehicle, <i>The African Queen </i>(1951),<i> </i>is currently moored there.</span></span></p><p><span style="font-family: inherit;"><span style="font-size: medium;"></span></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEif5AJPatgIF4Sj8XF7fUzkIofMOYO6okjg3wZSOvJYvx-Fc2YmAT9NtR3WqlmZiU9oKJES1p8YnCE0PsMGl2-rPd-G60OvReAAuQH6e522Dfv8_xwcnCRrWVatGdYlqG-cOXStRjYehDI/s2048/Summer+Blue.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="2048" data-original-width="1082" height="230" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEif5AJPatgIF4Sj8XF7fUzkIofMOYO6okjg3wZSOvJYvx-Fc2YmAT9NtR3WqlmZiU9oKJES1p8YnCE0PsMGl2-rPd-G60OvReAAuQH6e522Dfv8_xwcnCRrWVatGdYlqG-cOXStRjYehDI/w122-h230/Summer+Blue.jpg" width="122" /></a><span style="font-family: inherit;"><span style="font-size: medium;"></span></span></div><span style="font-family: inherit;"><span style="font-size: medium;">Another of Malahy's double feature suggestions introduced me to a film I was 'til now unfamiliar with. His entry on <i>The Seven Year Itch </i>(1955), a minor but fetching Billy Wilder comedy that provided Marilyn Monroe with one of her more endearing roles and catapulted her career into the stratosphere, is paired with the more obscure <i>Out of the Blue</i> (1947). Based on a short story by Vera Caspary (author of <i>Laura</i>) and starring George Brent, Virginia Mayo, Turhan Bey, Ann Dvorak and Carole Landis, the film is described by Malahy as "a screwball combination of <i>The Seven Year Itch </i>and <i>Rear Window</i>." This I've gotta see. Such are the nuggets to be found in<i> Summer Movies</i>.</span></span><p></p><p><span style="font-family: inherit;"><span style="font-size: medium;"></span></span></p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibs1xC1VykC5u_pYmqmtHzOfQEcE-igZErJ6sHFlTYB1_zcyP5Rw6QoDvWCyAJVA4AcA-VBwIO6eLo1aq_KnnH3YF2MimYe9-ZZoOKO-ig672fpGRhfpM_DhAu51jpjszyggVRvOONksg/s720/Summer+Moondog.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="547" data-original-width="720" height="233" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibs1xC1VykC5u_pYmqmtHzOfQEcE-igZErJ6sHFlTYB1_zcyP5Rw6QoDvWCyAJVA4AcA-VBwIO6eLo1aq_KnnH3YF2MimYe9-ZZoOKO-ig672fpGRhfpM_DhAu51jpjszyggVRvOONksg/w306-h233/Summer+Moondog.jpg" width="306" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Moondoggie and friends<br /></td></tr></tbody></table><span style="font-family: inherit;"><span style="font-size: medium;"><span style="font-family: inherit;"><span style="font-size: medium;">In his foreward to Malahy's guide, Leonard Maltin travels down Memory Lane, remembering his own early experiences with summer movies beginning with the time he saw <i>The Parent Trap</i> "the first week it played in a nearby New Jersey theater." Maltin's recollections brought to mind memories of my own. There was the summer long ago when I first saw <i>Gidget</i> at a Saturday matinee at the Ritz Theater in my hometown in Southern California. It was a few years after <i>Gidget'</i>s<i> </i>original release and I remember how much I'd anticipated seeing it and how enchanted I was with the freewheeling beach scene it depicted, with "Moondoggie," and with the sport of surfing, which was on the cusp of becoming very, very popular. I also remember a hot summer night in the distant past when I went with an older cousin and his family - again to the Ritz Theater<i> - </i>to see Disney's <i>Summer Magic </i>(1963). It starred Hayley Mills, Dorothy McGuire, Burl Ives and Deborah Walley (future Gidget!) and told the story of a turn-of-the-century family making a new life in a small town. I was charmed. </span></span><span style="font-family: inherit;"><span style="font-size: medium;"><span style="font-family: inherit;"><span style="font-size: medium;">A summer or two later, word of mouth began to spread on a movie about
surfing that was then being shown in auditoriums and other small venues. It
was called <i>The Endless Summer </i>and in Southern California at that time it became the definition of "cool." </span></span></span></span></span></span><p></p><p><span style="font-family: inherit;"><span style="font-size: medium;"></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: inherit;"><span style="font-size: medium;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjfx_LF2PH1EYOfDewG4GyeardQ7mqHOExHnqsZut0444-u-oesiJdPJhdE40p7-Nz3zzFWtJn91aE40Qdl9a3AZTtWUp7jiInYv34H3A70BpIDhPkwHsztvJ9iWMEm41DS9XxTnJ6rnUQ/s1600/Summer+Hulot.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1046" height="286" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjfx_LF2PH1EYOfDewG4GyeardQ7mqHOExHnqsZut0444-u-oesiJdPJhdE40p7-Nz3zzFWtJn91aE40Qdl9a3AZTtWUp7jiInYv34H3A70BpIDhPkwHsztvJ9iWMEm41DS9XxTnJ6rnUQ/w187-h286/Summer+Hulot.jpg" width="187" /></a></span></span></div><p><span style="font-family: inherit;"><span style="font-size: medium;">As I've mentioned more than once, this is an eclectic assortment. Commingling on <i>Summer Movies</i>' pages are the likes of <span style="font-family: inherit;"><span style="font-size: medium;"><i>Breaking Away</i> (1979), </span></span></span></span><span style="font-family: inherit;"><span style="font-size: medium;"><span style="font-family: inherit;"><span style="font-size: medium;"><i>Dirty Dancing</i> (1987), </span></span></span></span><span style="font-family: inherit;"><span style="font-size: medium;"><span style="font-family: inherit;"><span style="font-size: medium;"><i>Do the Right Thing</i> (1989), </span></span></span></span><span style="font-family: inherit;"><span style="font-size: medium;"><span style="font-family: inherit;"><span style="font-size: medium;"><i>The Graduate</i> (1967), </span></span><i>Monsieur Hulot's Holiday</i> (1953), </span></span><span style="font-family: inherit;"><span style="font-size: medium;"><i>Moon Over Miami </i>(1941), <i>Moonrise Kingdom</i> (2012), </span></span><span style="font-family: inherit;"><span style="font-size: medium;"><span style="font-family: inherit;"><span style="font-size: medium;"><span style="font-family: inherit;"><span style="font-size: medium;"><span style="font-family: inherit;"><span style="font-size: medium;"><i>On Golden Pond </i>(1981), </span></span><i>Picnic</i> (1955), </span></span><i>The Parent Trap</i> (1961), </span></span></span></span><span style="font-family: inherit;"><span style="font-size: medium;"><span style="font-family: inherit;"><span style="font-size: medium;"><i>A Room with a View</i> (1985), </span></span><i>Summertime</i> (1955) and </span></span><span style="font-family: inherit;"><span style="font-size: medium;"><span style="font-family: inherit;"><span style="font-size: medium;"><i>Summer Stock</i> (1950). It's kinda wacky but mostly engaging and a lot of fun. Which is what makes</span></span></span></span><span style="font-family: inherit;"><span style="font-size: medium;"><span style="font-family: inherit;"><span style="font-size: medium;"> <i>Summer Movies: 30 Sun-Drenched Classics </i>great summer reading for classic film fans and anyone with an interest in the films of summer. It will probably inspire other readers, as it has me, to consider what films would be on their own A-list of films set in the summertime. A few have already popped into my head: <i>American Graffiti </i>(1973), <i>Body Heat </i>(1981), <i>Say Anything </i>(1989), <i>Summer Magic </i>(1963), <i>Summer of '42 </i>(1971)...and I'm wondering if <i>Roman Holiday </i>(1953) took place during Rome's summer season.</span></span></span></span></p><p style="text-align: left;"><span style="font-family: inherit;"><span style="font-size: medium;"><span style="font-family: inherit;"><span style="font-size: medium;"><span style="font-size: small;"><i>Many thanks to Taryn Jacobs/TCM and Running Press for a review copy of </i>Summer Movies: 30 Sun-Drenched Classics.</span><br /></span></span></span></span></p><p></p><p><span style="font-family: inherit;"><span style="font-size: medium;"><span style="font-family: inherit;"></span></span></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhoGtWrmE8wjN23OneE6TLDGV3_eJrV6PpOZ3BAuFhZraa5H3NdWv2U-yBeBESRiC8FU3GLcPOv1kjDaedyqhc6ujBQ5DA_F4aAEMYf6dXfqBC4APsTXFmD8-abriTjJFl3z3_XTZN2Y58/s970/Summer+summer.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="300" data-original-width="970" height="226" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhoGtWrmE8wjN23OneE6TLDGV3_eJrV6PpOZ3BAuFhZraa5H3NdWv2U-yBeBESRiC8FU3GLcPOv1kjDaedyqhc6ujBQ5DA_F4aAEMYf6dXfqBC4APsTXFmD8-abriTjJFl3z3_XTZN2Y58/w643-h226/Summer+summer.jpg" width="643" /></a><span style="font-family: inherit;"><span style="font-size: medium;"><span style="font-family: inherit;"></span></span></span></div><p></p>The Lady Evehttp://www.blogger.com/profile/11963115499930520653noreply@blogger.com4tag:blogger.com,1999:blog-8509825018139758536.post-40195297752204445802021-05-21T09:47:00.047-07:002021-12-04T20:49:27.666-08:00I Know Where I'm Going! (1945), a Black & White Jewel from Powell & Pressburger<p><span style="font-size: medium;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMkeenYAIALoPaQENW1Cc3VMDKQPigqRxYnJD5pbNFDhaR10yKrdTTvfR_6miYTRn7ZxPcKpEK573dF8yab021C0t_u8aoOTvD_l9vblQEp-4wnq0i3-BKfPKBTiGjvKkYChTAlxVpevI/s1516/IKWIG+Wendy.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="664" data-original-width="1516" height="262" id="_idgpn_1" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMkeenYAIALoPaQENW1Cc3VMDKQPigqRxYnJD5pbNFDhaR10yKrdTTvfR_6miYTRn7ZxPcKpEK573dF8yab021C0t_u8aoOTvD_l9vblQEp-4wnq0i3-BKfPKBTiGjvKkYChTAlxVpevI/w598-h262/IKWIG+Wendy.jpg" width="598" /></a></span></div><span style="font-size: medium;">Rich, vivid Technicolor is one of the hallmarks of the most well-known and celebrated of the gorgeous, masterful films from the production team of Michael Powell and Emeric Pressburger, The Archers. From the mid-1940s into the early '50s, almost all of their films were shot in striking 3-strip Technicolor, often by cinematographer Jack Cardiff. Cardiff had been a camera operator for Denham Studios when the American Technicolor Company recruited him as their first technician in Great Britain. He would shoot England's first color film and initially work with Powell and Pressburger as a second unit camera operator on their first Technicolor film, <i>The Life and Death of Colonel Blimp </i>(1943). He would graduate to cinematographer on their second color outing, <i>A Matter of Life and Death/Stairway to Heaven </i>(1946). But there would be a lengthy delay in the production of the second film because of a limited availability of Technicolor cameras and film stock in England at that time. <span><a name='more'></a></span></span><p></p><p><span style="font-size: medium;">In the meantime, producer/screenwriter Emeric Pressburger mentioned to his partner, producer/director Michael Powell, an idea he'd had for a story about a woman who is trying, with great difficulty, to get to an island. This fragment of a concept evolved to become <i>I Know Where I'm Going! </i>(1945), a black and white beauty that in time got lost in the shuffle among The Archers' more colorful epics and grand scale dramas. But this outwardly "smaller" film is no less artful or engaging than the more prominent entries in Powell and Pressburger's filmography. </span></p><p><span style="font-size: medium;">The title, taken from an old Scottish folk song, makes no secret of a central theme and an entertaining opening credits sequence provides ample exposition: <br /></span></p><p style="text-align: center;">
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<span style="font-size: medium;"> </span></p><p style="text-align: left;"><span style="font-size: medium;">Wendy Hiller, flashing her nobly sculpted cheekbones and upturned nose, strides across the screen as all-grown-up Joan Webster. Now a stylishly suited 25-year-old bright young thing in a jaunty leopard skin hat with matching purse, she's about to have drinks and dinner with her bank manager father and is all wound up over the good news she's about to share with him. She's on the verge of getting everything she's ever wanted for as long as she could want anything; tomorrow she will wed Sir Robert Bellinger, her employer, an industrialist her father's age and "one of the wealthiest men in England." She will be rich! At dinner, her father stifles her sudden flash of pretense toward the waitstaff with the admonition, "Stop acting, you're not Lady Bellinger yet!"</span></p><p style="text-align: left;"><span style="font-size: medium;">That evening Joan sets off on the first leg of her many-legged journey to her fiance, Lord Bellinger, who is staying on the Island of Kiloran in Scotland's Western Isles. Boarding a train out of Manchester, Joan is on her way, but later that night she will have an unusual dream...</span></p><p style="text-align: center;"><span style="font-size: medium;"></span>
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</p><p><span style="font-size: medium;">En route to the tiny fishing village of Tobermory on the Isle of Mull, her last stop before she sails for Kiloran, Joan travels a winding road over a stone bridge, around a secluded cove and beside an ancestral castle dating from ancient times. </span><span style="font-size: medium;"><span style="font-size: medium;">As she draws nearer to her destination, the weather shifts from promising ("It's a sublime day!") to foggy and wet and windy. </span>She is leaving the modern industrial world where she has been very comfortable and entering into a primeval landscape and "old ways" that will have an unsettling effect on her.</span></p><p><span style="font-size: medium;"></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMDj1kEEIoNjidpL8SUszTvNNTQ-R1vxCJ1c1T22Gn9akrxH8qSBGJ0Uuaj3jS-QCa9_ApcaxAwFuP9GUcM37axP-PDXRZcKMo3jfiZ6pR5PvuQDJSqWDNllKkOXzaYOq2iW6ymHSFBr0/s630/ikwig+Joan+waits.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="480" data-original-width="630" height="364" id="_idgpn_4" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMDj1kEEIoNjidpL8SUszTvNNTQ-R1vxCJ1c1T22Gn9akrxH8qSBGJ0Uuaj3jS-QCa9_ApcaxAwFuP9GUcM37axP-PDXRZcKMo3jfiZ6pR5PvuQDJSqWDNllKkOXzaYOq2iW6ymHSFBr0/w478-h364/ikwig+Joan+waits.jpeg" width="478" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Joan sits on her suitcase at the dock waiting for Sir Robert's boat<br /></td></tr></tbody></table><p><span style="font-size: medium;"><span style="font-size: medium;">Joan's best laid plans begin to fall apart. A gust of wind blows her precious itinerary into the sea and stormy weather prevents Sir Robert's boat from crossing to Tobermory to pick her up that evening as scheduled. Through Torquil MacNeil (Roger Livesey), a Naval officer home on shore leave, she finds shelter with his old friend Catriona Potts (Pamela Brown). Mrs. Potts </span><span style="font-size: medium;"><span style="font-size: medium;">arrives home toting a rifle, accompanied by a pack of howling Irish Wolfhounds.</span> Windblown and down to earth with a gaze that misses nothing, Catriona is the antithesis of Joan. <br /></span></span></p><p><span style="font-size: medium;"><span style="font-size: medium;"></span></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgUsCcFCGQ9sw4mFPEsuZDvH0ivSb6t4ePJwdyjiVXC5ZtqeAWMwloHSByg7JD7zP-x-fKRKI6iAfahSJFPs9bGpy8l2ZvwyTapyfuS6FGVs6-jYld__cZir3n18yymSn1J5jZqMu5lT74/s488/ikwig-hounds.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="365" data-original-width="488" height="363" id="_idgpn_5" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgUsCcFCGQ9sw4mFPEsuZDvH0ivSb6t4ePJwdyjiVXC5ZtqeAWMwloHSByg7JD7zP-x-fKRKI6iAfahSJFPs9bGpy8l2ZvwyTapyfuS6FGVs6-jYld__cZir3n18yymSn1J5jZqMu5lT74/w485-h363/ikwig-hounds.jpg" width="485" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Catriona Potts and her Wolfhounds<br /></td></tr></tbody></table><p><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span></span></span></span></span></p><!--more--><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;">Bad weather lingers and, with barely concealed delight, Torquil escorts Joan around the port, introducing her to the local folk, to highland culture and lore and to the landscape of Scotland's rugged Western Isles. She asks with wonder when she hears an eerie calling sound and is told it is a pod of seals singing, their response to the warm and foggy weather. When she comments to Torquil that "People around here are very poor, I suppose," he replies, "Not poor, they just haven't got money." "It's the same thing, " she remarks. "Oh no," he says, "it's something quite different." And he takes her to a traditional celebration of highland dancing and singing, a Ceilidh (kay-lee) in honor of a local couple's diamond wedding anniversary...</span></span></span><p></p><p style="text-align: center;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;">
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</span></span></span></p><p><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;">When the weather refuses let up, Joan grows desperate. Something deep and elemental has begun to stir in her nature and she has also become strongly attracted to Torquil, an attraction that is mutual. Beginning to doubt herself and losing her grip, her reaction is to double down on her purpose and try to find a way to cross the channel to Kiloran, regardless of the risk. </span></span></span></p><p><span style="font-size: medium;"><span style="font-size: medium;"></span></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJvkzPxVaPwTHHSIfIFrpEDzL60ODH8RTwiecmcMMsk0463esjKw-2JfmyJPHLT5V1DNOpQF31-WrcA98BVwcCgoAK7QwonmpwpIYrqEXYeAlFK3I8misxQv3KAb_Tvswh2fqPK-Jfgpw/s704/ikwig+corryvreckan.png" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="515" data-original-width="704" height="373" id="_idgpn_7" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJvkzPxVaPwTHHSIfIFrpEDzL60ODH8RTwiecmcMMsk0463esjKw-2JfmyJPHLT5V1DNOpQF31-WrcA98BVwcCgoAK7QwonmpwpIYrqEXYeAlFK3I8misxQv3KAb_Tvswh2fqPK-Jfgpw/w511-h373/ikwig+corryvreckan.png" width="511" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">the Corryvreckan</td></tr></tbody></table><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><span style="font-size: medium;"></span></span></div><p><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><i>I Know Where I'm Going!</i> is the story of a young woman's transformation as she learns there can be much more to life than its glossy surfaces. Wendy Hiller is spellbinding in her portrayal of </span></span><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-size: medium;">Joan's gradual, initially begrudging response to Scotland's wild beauty and the man who introduces her to it.</span></span> There is both subtlety and intensity in her portrait of Joan's difficult journey from a narrow, selfish world view to an open embrace of life. Hiller made few films, among her most memorable are <i>Pygmalion </i>(1938) for which she was Oscar-nominated, <i>Major Barbara </i>(1941), <i>Separate Tables </i>(1958) for which she won a supporting Oscar, and <i>Murder on the Orient Express</i> (1974). Her performance in <i>I Know Where I'm Going!</i> is arguably her most moving and enduring.</span></span></span></p><p><span style="font-size: medium;"><span style="font-size: medium;"></span></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_-BEpHnW__ZtNHCF7Z2fjjWAX_d9vvBYcOzwftf8gmrSkUpx2LTpycjczLyr8Bthvlo1zs2kIs8VrUBIMG-XVJ19NRbkUoiy6GYT5WXB2Pdf51fLbqe6fsmOoXJsUYvMzvKxIM6YZx5U/s640/ikwig-wendy+and+roger.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="480" data-original-width="640" height="369" id="_idgpn_8" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_-BEpHnW__ZtNHCF7Z2fjjWAX_d9vvBYcOzwftf8gmrSkUpx2LTpycjczLyr8Bthvlo1zs2kIs8VrUBIMG-XVJ19NRbkUoiy6GYT5WXB2Pdf51fLbqe6fsmOoXJsUYvMzvKxIM6YZx5U/w491-h369/ikwig-wendy+and+roger.jpg" width="491" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">A moment of truth<br /></td></tr></tbody></table><span style="font-size: medium;"><span style="font-size: medium;"><i> </i></span></span><p></p><p></p><p><span style="font-size: medium;"><span style="font-size: medium;">The film's visual splendor owes much to DP Erwin Hillier. Anglo-German, he was born and raised in Berlin where he worked at Germany's UFA studios with F.W. Murnau on <i>Tabu </i>(1931) and Fritz Lang on <i>M </i>(1931). These influences are apparent in his photography on <i>I Know Where I'm Going!</i> Michael Powell praised Hillier's "keen eye for effect and texture...whether in the studio or on location" and noted that he had an affinity for cloudy skies; this would serve him well on <i>I Know Where I'm Going</i>! The thrilling special effects imagined by Powell, Hillier and production designer Alfred Junge for the climactic "Corryvreckan" scenes involving a whirlpool in the ocean channel were created by editing on-location shots of the rough seas near Tobermory together with footage filmed in a tank at Denham Studios.</span></span></p><p><span style="font-size: medium;"><span style="font-size: medium;"><i>I Know Where I'm Going!</i> was released in December 1945 and was successful in both Europe and the U.S. But Powell and Pressburger were now committed to Technicolor and in rapid succession produced three color-saturated films, <i>A Matter of Life and Death/Stairway to Heaven </i>(1946), <i>Black Narcissus </i>(1947) and <i>The Red Shoes</i> (1948). <i>Black Narcissus </i>would be nominated for and win two Oscars, for cinematography (Jack Cardiff) and art direction (Alfred Junge). <i>The Red Shoes </i>was nominated for five Oscars including Best Picture and won for its art direction and score. Both films were quickly proclaimed masterpieces and are acknowledged as two of the most magnificent Technicolor films ever made. And so <i>I Know Where I'm Going! </i>was for a long while forgotten.</span></span></p><p><span style="font-size: medium;"><span style="font-size: medium;"><i>I Know Where I'm Going!</i> screened during the 2021 TCM virtual film festival, an indication of its rediscovery. At last! Faultlessly conceived and realized from its screenplay, performances and photography to its production design/art direction, editing and score, this is one of Powell and Pressburger's great masterpieces, lacking nothing for not having been filmed in 3-strip Technicolor. </span></span></p><p style="text-align: center;"><span style="font-size: medium;"><span style="font-size: medium;">~</span></span></p><p style="text-align: left;"><span style="font-size: medium;"><span style="font-size: medium;">This is my entry in the Classic Movie Blog Association's Spring 2021 blogathon, Hidden Classics. <b><a href="http://clamba.blogspot.com/2021/05/cmba-hidden-classics-blogathon-may-18th.html">Click here</a></b> for links to all participating blogs and enjoy!</span></span></p><p style="text-align: center;"><span style="font-size: medium;"><span style="font-size: medium;">~</span></span></p><p style="text-align: left;"><span style="font-size: medium;"><span style="font-size: medium;">This post was voted the Best Classic Film Review/Drama of 2021 by the members of the Classic Movie Blog Association. Many thanks to the group for the honor!</span></span></p><p style="text-align: left;"><span style="font-size: medium;"><span style="font-size: medium;"></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><span style="font-size: medium;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKVQYRuIlziA6TnzqwFDc4zKoT6u7RaTSIbt_4uqH3TIjvHx2-CAlr7D41z8d1OJulnVoEt0mr-WO_mYZd9uCCj3p_fG6I_MpAGAcqEVNPVfw93HZr34LnoszvZm4abnb3GRbujeh98Cw/s614/2021+CMBA+Drama.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="614" data-original-width="495" height="320" id="_idgpn_9" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKVQYRuIlziA6TnzqwFDc4zKoT6u7RaTSIbt_4uqH3TIjvHx2-CAlr7D41z8d1OJulnVoEt0mr-WO_mYZd9uCCj3p_fG6I_MpAGAcqEVNPVfw93HZr34LnoszvZm4abnb3GRbujeh98Cw/s320/2021+CMBA+Drama.jpg" width="258" /></a></span></span></div><span style="font-size: medium;"><span style="font-size: medium;"><br /> <br /></span></span><p></p><p></p><span style="font-size: medium;"></span><p></p><p></p><p></p><input id="idg-io-safe-browsing-enabled" oninit="true" type="hidden" />The Lady Evehttp://www.blogger.com/profile/11963115499930520653noreply@blogger.com29tag:blogger.com,1999:blog-8509825018139758536.post-82941083865349102612021-05-16T09:22:00.015-07:002021-06-06T23:00:19.329-07:00For National Classic Movie Day: 6 Films - 6 Decades<div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHu0MVf4xLDgY6wpc-tvihArV0l4z4emKjno6kC-UnarlIsl13ZBLuVoRWM23IuyVHRUDs56vuDoW3vQxff1T0dZ6EBgotUOViemF8VI_8u8gWJPapyxUIqbe9fVLb-CHTGAzcANOQmfo/s1482/2021+Classic+Movie+Day.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1000" data-original-width="1482" height="349" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHu0MVf4xLDgY6wpc-tvihArV0l4z4emKjno6kC-UnarlIsl13ZBLuVoRWM23IuyVHRUDs56vuDoW3vQxff1T0dZ6EBgotUOViemF8VI_8u8gWJPapyxUIqbe9fVLb-CHTGAzcANOQmfo/w518-h349/2021+Classic+Movie+Day.jpg" width="518" /></a></span></div><span style="font-size: medium;"><br /></span><p><span style="font-family: inherit; font-size: medium;">May 16 is here and it's National Classic Movie Day. Hooray! Happily, Rick over at the <i><b><a href="https://www.classicfilmtvcafe.com/2021/05/national-classic-movie-day-2021.html">Classic Film & TV Cafe</a></b> </i>is once more hosting his annual blogathon in honor of this special day. The theme this year is "6 films - 6 decades," with each participant focusing on a favorite classic from each of six decades. Selecting just a few films from hundreds of favorites is never easy so I came up with a secondary theme of my own to simplify the task. I'll be spotlighting a film of each decade from the '20s through the '70s that also features a favorite pairing of lead actors.</span><span style="font-size: medium;"> </span></p><a name='more'></a><p></p><p><span style="font-size: medium;"><i><b>LUCKY STAR</b> </i>(1929)</span></p><p><span style="font-size: medium;"></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEic91zA4d23i5jQ2oGVZGyxFRqQfoab1COqTcXfFH0KEno85kkKGtOvCqIhhHzbDfD4vsOar2yBPoJzsQsWgVJ0BC-hkCzgcMhiBVLsLlyQv0pAfDsUzU2stznBQBhnphXmgrG7nZwKGw0/s1545/Lucky+Janet+and+Charlie.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1144" data-original-width="1545" height="296" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEic91zA4d23i5jQ2oGVZGyxFRqQfoab1COqTcXfFH0KEno85kkKGtOvCqIhhHzbDfD4vsOar2yBPoJzsQsWgVJ0BC-hkCzgcMhiBVLsLlyQv0pAfDsUzU2stznBQBhnphXmgrG7nZwKGw0/w400-h296/Lucky+Janet+and+Charlie.jpg" width="400" /></a><span style="font-size: medium;"></span></div><p></p><p><span style="font-size: medium;">Janet Gaynor and Charles Farrell first starred together in <i>7th Heaven </i>(1927), an enormously successful silent romance/drama and winner of some of the first Oscars ever awarded. The pair was so charismatic onscreen and the film was so popular that Fox teamed them in eleven more films. Along the way they became "America's favorite love birds." <i>Lucky Star</i> (1929) was their third outing, coming after <i>Street Angel </i>in 1928, and<i> </i>like their first two films it was directed by "the Great Romantic," Frank Borzage. The story is set in rural America in the first decades of the 20th Century. Gaynor plays Mary, the scruffy daughter of a poor widow dairy farmer, and Farrell is Tim, a decent and affable utility worker. When the two meet, they don't hit it off right away. </span></p><p style="text-align: center;"><span style="font-size: medium;"><iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/H9CAjzOPVHU" title="YouTube video player" width="560"></iframe> </span></p><p><span style="font-size: medium;">With its first scenes <i>Lucky Star </i>draws
the viewer into a dreamlike world of woods and hills and farmhouses, of
morning mists and falling snow. The two stars are just as affecting:
Gaynor with an endearing childlike quality along with her
heart-shaped face and wide expressive eyes, and handsome Farrell, whose special appeal is a
potent combination of masculinity and tenderness.
Borzage wisely takes his time in developing their relationship, letting
it gradually progress from enmity to friendship to love. Both Gaynor and
Farrell were responsive actors and the gentle unfolding of their romance allows
for nuanced performances that also happen to underscore their singular
onscreen chemistry. But before the pair connects Tim will go off to World War I and be badly injured on a battlefield in France.<i> </i>The scenes of Mary and Tim getting to know each after his return, by turns moving and sweet and humorous, are the highlights of the film. <br /><i></i></span></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkDgQ77BR2E5ZXB_-l2Ov61-XH1g2zqFx0VbguDkQbZU90fnMbl7b7bZ0BYhX0fW65metRIToWR7vf7N-50UrKZPpuBqvsPY9v-YoF2EC9UYO_4s2Akn9UGeO2eq3BjZktT4QA4IOZiBY/s500/Lucky+Star+gif.gif" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="417" data-original-width="500" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkDgQ77BR2E5ZXB_-l2Ov61-XH1g2zqFx0VbguDkQbZU90fnMbl7b7bZ0BYhX0fW65metRIToWR7vf7N-50UrKZPpuBqvsPY9v-YoF2EC9UYO_4s2Akn9UGeO2eq3BjZktT4QA4IOZiBY/s320/Lucky+Star+gif.gif" width="320" /></a></div><span style="font-size: medium;"><span>Originally, two versions of <i>Lucky Star</i> were shot, one was silent and the other was a partial sound film. Both renditions were thought to be lost but the silent version was discovered in 1990 and restored soon after. It was screened at various film festivals and in university programs to great acclaim. A touching, visually stunning film, <i>Lucky Star</i> can be seen in its entirety on YouTube.</span><br /></span><p></p><p><span style="font-size: medium;"><i><b>AFTER THE THIN MAN</b></i> (1936)<br /><b></b><i><b></b></i></span></p><p><span style="font-size: medium;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8h7p-bcMJO055VhUjxrfqlzoQToKlhUPJsJ5F6m7bBAwBx-VvN6lB2C0qQumuAyU11R5O2MCRGHmJ0H-HgE3vhpSygDmiQNoY9vULthoLhHayTcs9kAq9BMGKyMsctYoSaLmXaBqhX0c/s722/nick+and+nora.JPG" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="722" data-original-width="495" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8h7p-bcMJO055VhUjxrfqlzoQToKlhUPJsJ5F6m7bBAwBx-VvN6lB2C0qQumuAyU11R5O2MCRGHmJ0H-HgE3vhpSygDmiQNoY9vULthoLhHayTcs9kAq9BMGKyMsctYoSaLmXaBqhX0c/w274-h400/nick+and+nora.JPG" width="274" /></a></span></div><span style="font-size: medium;">William Powell was a star and Myrna Loy was not when they were first cast opposite each other in <i>Manhattan Melodrama</i> (1934). It was that film's director, Woody Van Dyke, who thought Dashiell Hammett's detective novel, <i>The Thin Man</i>, might make a good follow up for the pair. Cranked out by Van Dyke in just over two weeks, <i>The Thin Man</i> was produced as a B-level programmer. But it became a breakout hit, made a movie star of Myrna Loy and gave MGM the idea to create a franchise. <i>After the Thin Man</i> followed in 1936. Powell and Loy would co-star in a total of thirteen movies with six of them in the <i>Thin Man </i>series as the scintillating - and iconic - Nick and Nora Charles.</span><p></p><p><span style="font-size: medium;"><i>After the Thin Man</i> begins with Nick and Nora traveling back to San Francisco after their foray in New York (and <i>The Thin Man </i>case). When they arrive at their home they're surprised to find a party in full swing. But it is, after all, almost New Year's Eve. That evening at a family dinner, it surfaces that one of Nora's relatives needs Nick's help, but before that Asta, the couple's fiesty fox terrier, will confront a mystery of his own. </span></p><p style="text-align: center;"><span style="font-size: medium;"> <iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/YKLCAHVKb0w" title="YouTube video player" width="560"></iframe>
</span></p><p><span style="font-size: medium;">The plot is about a missing person, payoff money, vengeance and murder. But who cares about that? I'm watching for the joy of Nick and Nora's uptown style, their camaraderie and their wit. I'm here for the clever bits involving Nick's Runyonesque cronies (like the pickpocket who runs into the couple at the train station not realizing Nora is Nick's wife). I'm looking out for young James Stewart in a key supporting role as a man who isn't what he first appears to be. And I especially want to once again savor the final scene... </span></p><p style="text-align: center;"><span style="font-size: medium;"><iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/JXILsJ5uMVk" title="YouTube video player" width="560"></iframe>
</span></p><p><span style="font-size: medium;"><i><b>THE SHOP AROUND THE CORNER </b></i>(1940)<br /></span></p><p><span style="font-size: medium;">James Stewart and Margaret Sullavan knew each other long before they made their first film together. The two became friends years earlier with the University Players, a summer stock company on Cape Cod. Each would end up on Broadway but Sullavan was the first to make her way in Hollywood. She would convince Universal to cast him in their first film, <i>Next Time We Love</i> (1936), and the film's director would later credit her with launching Stewart 's career. The pair co-starred three more times, in <i>The Shopworn Angel </i>(1938), <i>The Shop Around the Corner </i>(1940) and <i>The Mortal Storm </i>(1940). They created big screen sparks in all four outings, but <i>The Shop Around the Corner, </i>an Ernst Lubitsch film, stands out.<br /></span></p><p><span style="font-size: medium;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjcB44UcDIuafiB-onQl4X5WNzNHXJP1-Rtbrd3-SZpbpcHNGxUyjvXXDG1qRUctQYKQ0ygFAywgI2TzN4aum0zvYlt_Z4Cwmt9w-6ef7n1_2Yy-z4X145gXrR3-nD5cjNFDeh8HA88uTA/s500/shop-gif.gif" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="380" data-original-width="500" height="304" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjcB44UcDIuafiB-onQl4X5WNzNHXJP1-Rtbrd3-SZpbpcHNGxUyjvXXDG1qRUctQYKQ0ygFAywgI2TzN4aum0zvYlt_Z4Cwmt9w-6ef7n1_2Yy-z4X145gXrR3-nD5cjNFDeh8HA88uTA/w400-h304/shop-gif.gif" width="400" /></a></span></div><p><span style="font-size: medium;">Set in a specialty gift shop in Budapest at Christmastime, Stewart and Sullavan portray quarreling co-workers who are unaware that each is the other's treasured pen pal. The topnotch supporting cast includes Frank Morgan as the shop owner and Felix Bressart, Sara Haden and Joseph Schildkraut as some of the other employees. The atmosphere in the cozy workplace is communal and lends itself to the playing out of (work) family dynamics. Meanwhile, Stewart and Sullavan's anonymous love/overt hate relationship continues to twist and turn. <br /></span></p><p><span style="font-size: medium;"><i>The Shop Around the Corner </i>is one of the several collaborations of Lubitsch and screenwriting great Samson Raphaelson. What they made of their source material turned out to be </span><span style="font-size: medium;">one of the masterpieces of Golden Age (or any other age) romantic comedy. What Stewart and Sullavan bring are two exquisitely honed performances. In their roles as Kralik and Klara they offer faceted characters, individuals with discernible soft spots and hard edges believably driven by their hopes and insecurities and pride. Add to that the obvious affinity the two have working with each other. </span><span style="font-size: medium;">MGM's L.B. Mayer is said to have reacted to their onscreen magic with, "I don't know what the hell it is, but it sure jumps off the screen." </span></p><p style="text-align: center;"><span style="font-size: medium;"><iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/0n6s5rynumo" title="YouTube video player" width="560"></iframe>
<br /></span></p><p></p><p><span style="font-size: medium;"><i><b>A PLACE IN THE SUN </b></i>(1951)<br /><b></b><i><b></b></i></span></p><p><span style="font-size: medium;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiI55rPyyoyx0Ic5zeS3iiSojt8K1M0LROKtjTGvTER4V9IBN-HvlSxgEwgbTo4AsEn4wl3XKtQ4r6WGdWwAMu7ITulzjNo-Ux0VXuKy6VWaVQ6TVZqAeuPRHfIw-EhUzg8Xy78esnclqo/s634/Sun+kiss.png" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="478" data-original-width="634" height="301" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiI55rPyyoyx0Ic5zeS3iiSojt8K1M0LROKtjTGvTER4V9IBN-HvlSxgEwgbTo4AsEn4wl3XKtQ4r6WGdWwAMu7ITulzjNo-Ux0VXuKy6VWaVQ6TVZqAeuPRHfIw-EhUzg8Xy78esnclqo/w400-h301/Sun+kiss.png" width="400" /></a></span></div><span style="font-size: medium;">Was there ever a more beautiful couple on the screen than Elizabeth Taylor and Montgomery Clift in <i>A Place in the Sun</i>? I doubt it. I also doubt there was ever a more heartrending pair of star-crossed lovers than his character, George Eastman, and hers, Angela Vickers, in the same film.</span><p></p><p><span style="font-size: medium;">Taylor, 17 when the picture was filmed in 1949, was in the midst of transitioning from the adolescent phase of a stardom that began when she was twelve. Clift, 28 when production began, was early in his film career, having just made <i>Red River </i>(1948) and <i>The Heiress </i>(1949), and not long gone from New York after a ten year career on Broadway. George Stevens directed this adaptation of a play based on Theodore Dreiser's 1925 novel <i>An American Tragedy</i>. Dreiser's novel, itself based on a true story, had already been the basis for a 1931 film that kept the title, was directed by Josef von Sternberg and starred Phillips Holmes, Sylvia Sidney and Frances Dee. That version was a hit in Europe but not in the states. <i>A Place in the Sun </i>was a critical and popular success everywhere and went on to win six Oscars.</span> </p><p><span style="font-size: medium;"><span style="font-size: medium;"><i></i></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><span style="font-size: medium;"><i><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjoRCUywY3q3YQ0wHbITkjSnitE_6O2huxP4u1Tmulg-wt6TLM-gvAX5037Ldls_AKHzomj7ZmCWo0Uub0CkFQtZSR4h8F0dxiFyaQFsibqE84pY3FNCw-divKAO_ZBPeW65cue5uNXFT0/s857/Sun+prison.png" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="647" data-original-width="857" height="303" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjoRCUywY3q3YQ0wHbITkjSnitE_6O2huxP4u1Tmulg-wt6TLM-gvAX5037Ldls_AKHzomj7ZmCWo0Uub0CkFQtZSR4h8F0dxiFyaQFsibqE84pY3FNCw-divKAO_ZBPeW65cue5uNXFT0/w400-h303/Sun+prison.png" width="400" /></a></i></span></span></div><span style="font-size: medium;"><span style="font-size: medium;"><i>A Place in the Sun </i>is what the protagonist, George Eastman, yearned for. A sensitive young man, he'd struggled growing up with a rigidly religious mother and no money to speak of. But he had big dreams. A chance encounter with a wealthy uncle brings the opportunity to move up in the world. And though George is given glimpses of the ease and glamour of the social life of his uncle's family, he won't be invited into their world unless he proves himself by working his way up from the bottom. At the bottom he meets a girl (Shelley Winters). But as he begins to rise within the company he meets another girl, Angela, and he falls - and she falls - madly in love. Like so many triangles, this one ends badly.</span></span><p></p><p><span style="font-size: medium;"><span style="font-size: medium;">Elizabeth Taylor and Montgomery Clift, like every couple mentioned here, shared an extraordinary onscreen chemistry. It came through most powerfully, breathlessly even, in <i>A Place in the Sun. </i>Like the others, these two also clicked off screen, becoming close, lifelong friends. They would co-star again in <i>Raintree County</i> (1957) and <i>Suddenly, Last Summer</i> (1959), and nearly worked together one more time in <i>Reflections in a Golden Eye </i>(1967), but Clift died suddenly before production began.</span> <br /></span></p><p><span style="font-size: medium;"><b><i>BUTCH CASSIDY AND THE SUNDANCE KID </i></b>(1969) <br /></span></p><p><span style="font-size: medium;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBV47z_xgUy4tRBr1_4JcMGuwvm-h0b36LYerMw6srG849SYXEG3d5GsGw9iz9EqvHzZG088J7stnyZuh3E7VqaJjtacqfKWI5uuoCaQI6cliJjfYnDCyIQbMJBqByHR4F1IKotTJ4uME/s850/Butch+and+Sundance+2.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="505" data-original-width="850" height="238" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBV47z_xgUy4tRBr1_4JcMGuwvm-h0b36LYerMw6srG849SYXEG3d5GsGw9iz9EqvHzZG088J7stnyZuh3E7VqaJjtacqfKWI5uuoCaQI6cliJjfYnDCyIQbMJBqByHR4F1IKotTJ4uME/w400-h238/Butch+and+Sundance+2.jpg" width="400" /></a></span></div><span style="font-size: medium;">Less than two years ago I published a<a href="http://www.ladyevesreellife.com/2019/10/bridging-old-hollywood-and-new-butch.html"> <b>lengthy blog post</b> </a>on the 1969 megahit <i>Butch Cassidy and the Sundance Kid</i>. Why, you may ask, am I going there again, especially when there are other tempting '60s couplings - like Day/Hudson and the last of Hepburn/Tracy - out there? It's the bromance factor. Though the term didn't exist in the '60s, Paul Newman and Robert Redford as Butch and Sundance remain today, 51 years later, the godfathers of bromance.<br /></span><p></p><p><span style="font-size: medium;">It wasn't a planned pairing. The legendary outlaws were supposed to be portrayed by Newman and Steve McQueen. My heart quivers at the thought, but it didn't happen. Redford was then in no way an obvious choice to replace...Steve McQueen. His work on screen to that point gave no indication that he had that kind of potential. He'd done the requisite live and series work on golden age TV. His film career had been building with roles in respectably popular movies like <i>Inside Daisy Clover </i>(1965), <i>The Chase </i>(1966), <i>This Property is Condemned </i>(1966) and <i>Barefoot in the Park </i>(1967). But no one would have imagined him co-starring in a revisionist Western that would become known as "the <i>Citizen Kane </i>of buddy films." And no one would've thought he could or would give as good as he got from Paul Newman. But he could and he did and he achieved overnight the kind of cachet that can last a lifetime.<br /></span></p><p><span style="font-size: medium;">Newman was by then a megawatt star known for an irresistible combination of looks, talent and charm. At 44, he'd already been nominated for the Best Actor Oscar four times. He had also established himself as an antihero, a distinctly charismatic one, with roles in films like <i>Cool Hand Luke </i>(1967), <i>The Hustler </i>(1961) and, inadvertently, <i>Hud</i> (1963). Playing antiheroes brought with it counterculture credibility ("cred") and that mattered tremendously in the late '60s. This was something Redford lacked but would gain with <i>Butch and Sundance</i>. </span></p><p style="text-align: center;"><span style="font-size: medium;"><iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/KyR7XB0VBPM" title="YouTube video player" width="560"></iframe>
</span></p><p><span style="font-size: medium;">Award-winning screenwriter William Goldman said he intentionally wrote Butch and Sundance as "appealing...different and special" characters and that he labored mightily to balance the drama and humor in his screenplay. Everyone involved knew that, balanced as the script might be and as fine as other crucial elements might be, the success of the picture rested on the success of the onscreen rapport between the two leads. They needn't have worried. The measure of <i>Butch and Sudance</i>'s success, aside from its monster box office receipts, would come with the scope of its influence. Over the years, many, many buddy films have followed, including Newman and Redford's own <i>The Sting</i> in 1973.</span><br /></p><p><span style="font-size: medium;"><i><b>PAPER MOON </b></i>(1973)<br /><b></b><i><b></b></i></span></p><p><span style="font-size: medium;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxXLWfhQMIYLqAkpAO_Zt07zejbp1hbyf5AJIDsdQCmoT1DXzWUEcOL47I-HcGG8xUhd-19oRhCSJx1lMfQubGmmmrXd6L5fRDJB5dfd3Gpj-pa8uvqvc74MF42nDUpcOeG84rB8XeqnU/s1154/Paper+2.JPG" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="697" data-original-width="1154" height="241" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxXLWfhQMIYLqAkpAO_Zt07zejbp1hbyf5AJIDsdQCmoT1DXzWUEcOL47I-HcGG8xUhd-19oRhCSJx1lMfQubGmmmrXd6L5fRDJB5dfd3Gpj-pa8uvqvc74MF42nDUpcOeG84rB8XeqnU/w400-h241/Paper+2.JPG" width="400" /></a></span></div><p><span style="font-size: medium;">Filmmaker Peter Bogdanovich enjoyed an enviable run in the early '70s with three popular and critically praised films made one after another. The first was <i>The Last Picture Show </i>(1971), a drama set in a dying Texas town in the early '50s. Next came the neo-screwball, <i>What's Up, Doc? </i>(1972) and finally, in 1973, <i>Paper Moon</i>, a comedy drama set in Kansas and Missouri during the mid-'30s. All three are '70s favorites of mine, but for this blogathon <i>Paper Moon </i>has the advantage with its winning father/daughter pairing of co-stars Ryan and Tatum O'Neal. Ryan had co-starred in <i>What's Up, Doc? </i>with Barbra Streisand for Bogdanovich the year before and before that had the male lead in the blockbuster romance, <i>Love Story </i>(1970). On the other hand, <i>Paper Moon </i>was Tatum's film debut. She was not a child actor, but with the care and attention of her director along with her own innate ability she delivered an amazing performance, so true and so appealing that she not only stole every scene in the film but went on to win the Oscar for Best Supporting Actress (even though her role was actually a lead).<br /></span></p><p><span style="font-size: medium;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGSh2jOlFYPNLexWaiCBBwwUpE6WfPy5rIXSFlfhGb2FJ0v1zkaybD8_HA33ChzduXNkg7O7rC-TeGX0XKS31Oyni587LODhVbXX_y_FMEH_27SJmbn4LBNlvFK2BEvmdBVfnxiM8ap4c/s687/Award.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="473" data-original-width="687" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGSh2jOlFYPNLexWaiCBBwwUpE6WfPy5rIXSFlfhGb2FJ0v1zkaybD8_HA33ChzduXNkg7O7rC-TeGX0XKS31Oyni587LODhVbXX_y_FMEH_27SJmbn4LBNlvFK2BEvmdBVfnxiM8ap4c/s320/Award.jpg" width="320" /></a></span></div><span style="font-size: medium;">Tatum plays Addie, an orphaned nine year-old who meets Moze (Ryan) in Kansas at her mother's funeral. It's possible Moze is her father, but that point will remain a bone of contention between the two. Moze is a con man and he agrees to drive Addie to her relatives in Missouri under duress but also with the idea that there's money to be made. He starts working this angle right away and when Addie realizes he's spent money meant for her she insists he pay her back. She's a determined and ornery little kid with wiles of her own, and so they become partners in crime - his bible con - until he can pay her back. Turns out Addie has a gift for grift. As the pair travels, they stop here and there to run a scam, usually Moze's bible sales routine. But Addie comes up with a con or two of her own. Their not-quite-idyllic journey hits a jolting speed bump when Moze picks up "exotic dancer" Trixie Delight (fabulous Madeline Kahn). For awhile Trixie and her young maid travel with Moze and Addie, but Addie fixes that.</span><p></p><p><span style="font-size: medium;">The pairing of the O'Neals was genius. Their characters have an often contentious relationship, though this shifts, but the two are always connected, always in sync. Their resemblance is more than physical and never more apparent than when they get into a tangle with each other. There's just no way Moze wasn't Addie's dad. <br /></span></p><p style="text-align: center;"><span style="font-size: medium;"><iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/VBA_fhQoArA" title="YouTube video player" width="560"></iframe>
</span></p><p></p><div style="margin-left: 40px; text-align: center;">~</div><div style="margin-left: 40px; text-align: left;"><br /></div><div style="margin-left: 40px; text-align: left;"><span style="font-size: medium;"><b><a href="https://www.classicfilmtvcafe.com/2021/05/national-classic-movie-day-2021.html">Click here</a></b> for links to all participating blogs in <i>The Classic Film & TV's</i> National Classic Movie Day blogathon. Enjoy!</span></div><div style="margin-left: 40px; text-align: left;"><span style="font-size: medium;"> </span></div><div style="margin-left: 40px; text-align: center;"><span style="font-size: medium;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgwh583pUWadJrN97xQ2vAherWQqi6iiP1pmxwHamjxbq9piJhmvhkZPGO9Pmn3BkxM2R7MmY9GSft5ZaxvV3dbqn9rEfJUQlPQd0o5WAzIzIimbfuY93-f4bQs5KlFOL3Bbx0wONRJHPc/s320/2021+blogathon.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="240" data-original-width="320" height="407" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgwh583pUWadJrN97xQ2vAherWQqi6iiP1pmxwHamjxbq9piJhmvhkZPGO9Pmn3BkxM2R7MmY9GSft5ZaxvV3dbqn9rEfJUQlPQd0o5WAzIzIimbfuY93-f4bQs5KlFOL3Bbx0wONRJHPc/w543-h407/2021+blogathon.jpg" width="543" /></a></div><br /> </span><br /></div>The Lady Evehttp://www.blogger.com/profile/11963115499930520653noreply@blogger.com30tag:blogger.com,1999:blog-8509825018139758536.post-91728370856125891512021-03-22T06:00:00.063-07:002022-01-31T19:52:20.031-08:00Old Hollywood Haunts, Pt. 2: Charlie Farrell's Racquet Club in Palm Springs<div style="text-align: left;"></div><p style="text-align: left;"></p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpW__5JGoFA-2wy9EUF-MatPJ46GQl6c2WFLsoc0U9Z-OWL0TUCuASQaHaG6oN7paeQTXCQyKgFuEIhyD4iJgzEjHQVcqGckZ4E_Qt7FCnlHVrFcDF6mWb1CWCx5sxFa25JBkcKdjLBjw/s1403/Palm+Springs+Racquet+Club.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="933" data-original-width="1403" height="337" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpW__5JGoFA-2wy9EUF-MatPJ46GQl6c2WFLsoc0U9Z-OWL0TUCuASQaHaG6oN7paeQTXCQyKgFuEIhyD4iJgzEjHQVcqGckZ4E_Qt7FCnlHVrFcDF6mWb1CWCx5sxFa25JBkcKdjLBjw/w507-h337/Palm+Springs+Racquet+Club.jpg" width="507" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Charlie Farrell, top center; Ava Gardner, bottom left; on the right, Marilyn Monroe and Spencer Tracy<br /></td></tr></tbody></table><p style="text-align: left;"></p><p style="text-align: left;"><span style="font-size: medium;"><span style="font-family: inherit;"><span style="font-size: medium;"><span style="font-family: inherit;">Many years ago, Charlie Farrell was a movie star. He first gained fame as a leading man in the late 1920s when he was </span></span></span></span><span style="font-size: medium;"><span style="font-family: inherit;"><span style="font-size: medium;"><span style="font-family: inherit;"><span style="font-size: medium;"><span style="font-family: inherit;"><span style="font-size: medium;"><span style="font-family: inherit;">in his late 20s</span></span></span></span>. He'd started out in Hollywood as an extra, appearing momentarily in films like the Lon Chaney classic <i>The Hunchback of Notre Dame </i>(1923)<i> </i>and Ernst Lubitsch's first Hollywood film, <i>Rosita </i>(1923), starring Mary Pickford. After a minor role in DeMille's <i>The Ten Commandments </i>(1923) his career began to build. In 1927 he was cast opposite Janet Gaynor in <i>7th Heaven</i>. A smash hit, the movie was nominated for the very first Best Picture Academy Award and brought Oscars to director Frank Borzage, screenwriter</span></span></span></span><span style="font-size: medium;"><span style="font-family: inherit;"><span style="font-size: medium;"><span style="font-family: inherit;"> Benjamin Glazer and to Janet Gaynor, who won Best Actress for this and two other film performances. Charlie would always joke that he was the only one connected with the movie who wasn't nominated for an Oscar. The two luminous, newly minted young stars were then teamed in 11 more pictures between 1928 and 1934 and, as the most popular couple in movies, were known as "America's Favorite Lovebirds." <span></span></span></span></span></span></p><a name='more'></a><p></p><p style="text-align: left;"></p><p style="text-align: left;"></p><p style="text-align: center;"><span style="font-size: medium;"><span style="font-family: inherit;"><iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/jvRQqmzIa7I" width="560"></iframe> </span></span></p><p style="text-align: center;"><span style="font-size: medium;"><span style="font-family: inherit;"><span style="font-size: small;">Janet Gaynor and Charles Farrell in <i>7th Heaven</i> (1927)</span><br /></span></span></p><p style="text-align: left;"><span style="font-size: medium;"><span style="font-family: inherit;"><span style="font-size: medium;"><span style="font-family: inherit;"><span style="font-size: medium;"><span style="font-family: inherit;">Though Charlie successfully transitioned to talkies, Fox Film Corp. was in flux. When William Fox lost control of the company after the stock market crash, Chase National Bank put his volatile protege, Winfield (Winnie) Sheehan, in charge. Sheehan was not a Farrell fan. Some said it was because the
boss had an eye for Janet Gaynor and was miffed that she'd been
romantically involved with her co-star. But, at the same time, the
trend in leading men was shifting toward "tough guys," which
Farrell was not. Looking back on his career much later, the dapper Massachusetts-born/Boston
University-educated Farrell would admit he'd gotten weary of "trying to portray James Cagney" when
his accent sounded "more like James Mason's." </span></span></span></span> <br /></span></span></p><p style="text-align: left;"></p><p style="text-align: left;"><span style="font-size: medium;"><span style="font-family: inherit;"></span></span></p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; text-align: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiNoYvfz_sSzfzQ62hgZe2Xj9GXhWItyP31KaqEVcrmhL1y-zMVUGwIa1KwKrjHaiwEllpTI3q1JAT-7S6yyzUzzqGF_rYoCoVI53gjezS90YSE_yInjfe96Tvb4IVrVMYJ6TBf4CsnBv8/s1426/Desert+Inn+and+El+Mirador.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="434" data-original-width="1426" height="196" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiNoYvfz_sSzfzQ62hgZe2Xj9GXhWItyP31KaqEVcrmhL1y-zMVUGwIa1KwKrjHaiwEllpTI3q1JAT-7S6yyzUzzqGF_rYoCoVI53gjezS90YSE_yInjfe96Tvb4IVrVMYJ6TBf4CsnBv8/w647-h196/Desert+Inn+and+El+Mirador.jpg" width="647" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">The Desert Inn (left) and the El Mirador, two early destination resorts in Palm Springs <br /></td></tr></tbody></table><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><span style="font-family: inherit;"></span></span></div><p style="text-align: left;"><span style="font-size: medium;"><span style="font-family: inherit;">Charlie
Farrell reportedly got his first glimpse of Palm Springs in 1929 when the studio sent he and Janet Gaynor to the desert for voice training. This was in preparation for converting their film <i>Lucky Star</i> (1929) from silent to sound. Palm Springs was then in the beginning stages of its transformation from modest
health spa town with a few dude ranches to ritzy
winter retreat for the wealthy and well-known. The Lloyd Wright designed Oasis Hotel opened in 1925 and on New Year's Eve 1928
the sprawling El Mirador Hotel threw open its opulent doors. The
Desert Inn, where Charlie stayed during his visit, was a poshly
renovated and repurposed former spa.</span></span></p><p style="text-align: left;"><span style="font-size: medium;"><span style="font-family: inherit;"></span></span></p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; text-align: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEji-Cn0pXRDO02EQe749tGozCCuxZbXS4AGj56pFh-8pNeaY2xxHvCGfgdhc-GJQNQhNiqy673EPcp80cll5RnjSm34PcnNrAwhxzKyfu9WWg5wqP8ppn_1nUUHNp95MYzLkMieKbYjgvA/s512/Palm+Springs+desert.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="341" data-original-width="512" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEji-Cn0pXRDO02EQe749tGozCCuxZbXS4AGj56pFh-8pNeaY2xxHvCGfgdhc-GJQNQhNiqy673EPcp80cll5RnjSm34PcnNrAwhxzKyfu9WWg5wqP8ppn_1nUUHNp95MYzLkMieKbYjgvA/w320-h213/Palm+Springs+desert.jpg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">sagebrush and sand<br /></td></tr></tbody></table><span style="font-size: medium;"><span style="font-family: inherit;"><span style="font-size: medium;">It was Janet Gaynor who suggested to Charlie that he take a winter home in Palm Springs. Through local realtor Harold Hicks, he found an apartment at the Casa Palmeras. Then one day in 1933 Hicks told him about 200 acres for sale on the north end of Palm Springs. The price was $30 an acre and the location was not far from the El Mirador. Charlie talked to his tennis buddy Ralph Bellamy and the two men decided to purchase the land together. Since the courts at the El Mirador and the Desert Inn were few and always busy, they decided to build two tennis courts along with a serviceable dressing room/shelter on their newly acquired expanse of sand and scrub brush. </span></span></span><br /><p style="text-align: left;"></p><p style="text-align: left;"><span style="font-size: medium;"><span style="font-family: inherit;"></span></span></p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBrsAKckUVR8lyp5RXai3kIRjyFYctEbKPuJ_g1vjEsjD-aoLzdq6fp7O9HM-diW-FZi0fzSz7OCCM0zMmhSqzKrD6GZRgp_zxgr6KXPPQQcS3W3IM1Ed5Km9fKwIYUqICxrG3Bi8UySs/s640/Palm+Springs+Ginger.jpeg" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="640" data-original-width="600" height="286" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBrsAKckUVR8lyp5RXai3kIRjyFYctEbKPuJ_g1vjEsjD-aoLzdq6fp7O9HM-diW-FZi0fzSz7OCCM0zMmhSqzKrD6GZRgp_zxgr6KXPPQQcS3W3IM1Ed5Km9fKwIYUqICxrG3Bi8UySs/w269-h286/Palm+Springs+Ginger.jpeg" width="269" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Ginger Rogers<br /></td></tr></tbody></table><p style="text-align: left;"><span style="font-size: medium;"><span style="font-size: medium;">The courts opened in December 1934. The facilities were spare and amenities non-existent, but top Hollywood stars attended Farrell and Bellamy's "grand opening" anyway, among them Carole Lombard, Joan Crawford, Spencer Tracy, Marlene Dietrich, Ginger Rogers, Robert Taylor, Frank Morgan, Mary Pickford and Douglas Fairbanks. The two men hadn't originally intended to turn their sandy lot into a club but, as Charlie put it 30 years later, "Places like the Racquet Club are not planned. They just happen." </span></span></p><span style="font-size: medium;"><span style="font-family: inherit;"><span style="font-size: medium;"><span style="font-family: inherit;"><span style="font-size: medium;"><span style="font-family: inherit;">The Racquet Club soon sported a clubhouse, a full restaurant and bamboo bar (designed by Hollywood director Mitchell Leisen), guest bungalows, a swimming pool with poolside dining, locker rooms, showers, and four more
tennis courts. F</span></span>ar enough away from Hollywood for movie folk to let their hair down in relative privacy, but near enough to get back within the two hours required by the studios, the Racquet Club became a haven for film stars. By 1936 the club had sold all available memberships and closed its list to new applicants.<br /></span></span></span></span><p style="text-align: left;"></p><p style="text-align: center;"><span style="font-size: medium;"><span style="font-family: inherit;"><span style="font-size: medium;"><span style="font-family: inherit;"><iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/yWrhy3DcIr8" width="560"></iframe> </span></span></span></span></p><p style="text-align: center;"><span style="font-size: medium;"><span style="font-family: inherit;"><span style="font-size: medium;"><span style="font-family: inherit;"><span style="font-size: small;">A recent video tour of the Charlie Farrell Tachevah Drive residence, where he lived for nearly 40 years</span><br /></span></span></span></span></p><p style="text-align: left;"><span style="font-size: medium;"><span style="font-family: inherit;"><span style="font-size: medium;"><span style="font-family: inherit;"></span></span></span></span></p><p style="text-align: left;"><span style="font-size: medium;"><span style="font-family: inherit;"><span style="font-size: medium;"><span style="font-family: inherit;"><span style="font-size: medium;">In 1934 Charlie and his wife, former actress Virginia Valli, built a house on the Racquet Club grounds that would be their desert home for the next 18 years. In 1952 they moved to East Tachevah Drive in the Movie Colony compound and remained there for the rest of their lives. Charlie bought out Ralph Bellamy's <span style="font-family: inherit;">interest in the business in 1937 and from then on oversight fell entirely to the Farrells. Charlie played the role of host/ringmaster and Virginia kept an eye on the business side. </span></span></span></span></span></span><span style="font-size: medium;"><span style="font-family: inherit;"><span style="font-size: medium;"><span style="font-family: inherit;"><span style="font-size: medium;"><span style="font-family: inherit;"><span style="font-size: medium;"><span style="font-family: inherit;"><span style="font-size: medium;"><span style="font-family: inherit;"><span style="font-size: medium;"><span style="font-family: inherit;">To supervise day to day operations, they hired </span></span></span></span></span></span><span style="font-size: medium;"><span style="font-family: inherit;"><span style="font-size: medium;"><span style="font-family: inherit;"><span style="font-size: medium;"><span style="font-family: inherit;"><span style="font-size: medium;"><span style="font-family: inherit;"><span style="font-size: medium;"><span style="font-family: inherit;"><span style="font-size: medium;"><span style="font-family: inherit;">a general manager.</span></span></span></span></span></span></span></span></span></span></span></span><span style="font-size: medium;"><span style="font-family: inherit;"><span style="font-size: medium;"><span style="font-family: inherit;"><span style="font-size: medium;"><span style="font-family: inherit;"><span style="font-size: medium;"><span style="font-family: inherit;"><span style="font-size: medium;"><span style="font-family: inherit;"><span style="font-size: medium;"><span style="font-family: inherit;"><span style="font-size: medium;"><span style="font-family: inherit;"><span style="font-size: medium;"><span style="font-family: inherit;"><span style="font-size: medium;"><span style="font-family: inherit;"> </span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span>Together Charlie and Virginia were, according to one longtime club member and Palm Springs resident, "the backbone of the club - and the town."</span></span></span></span></span></span><span style="font-size: medium;"><span style="font-family: inherit;"><span style="font-size: medium;"><span style="font-family: inherit;"><span style="font-size: medium;"><span style="font-family: inherit;"><span style="font-size: medium;"><span style="font-family: inherit;"><span style="font-size: medium;"><span style="font-family: inherit;"><span style="font-size: medium;"><span style="font-family: inherit;"><span style="font-size: medium;"><span style="font-family: inherit;"><span style="font-size: medium;"><span style="font-family: inherit;"><span style="font-size: medium;"><span style="font-family: inherit;"><br /></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEia98HCgfqURxax21vMGfiqM4jq6UBObAwPUR5hV0WXZAqxchVjsDK5eERQLsfK36m97w8uhVe1TgmOiEs5M5GqEKX9-JgCprCzAsa9Rv7Yv8qePmy4xgXz0kqqjd0DPhLN19t22okLPfE/s752/palm+springs+artie+and+lana.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="515" data-original-width="752" height="274" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEia98HCgfqURxax21vMGfiqM4jq6UBObAwPUR5hV0WXZAqxchVjsDK5eERQLsfK36m97w8uhVe1TgmOiEs5M5GqEKX9-JgCprCzAsa9Rv7Yv8qePmy4xgXz0kqqjd0DPhLN19t22okLPfE/w400-h274/palm+springs+artie+and+lana.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Lana Turner and Artie Shaw honeymooned at the Racquet Club<br /></td></tr></tbody></table><span style="font-size: medium;">The Farrells prospered and Palm Springs flourished as Hollywood's glitterati continued to flock to town. They came for tennis or polo, or to relax - or to take part in hi-jinks of one kind or another among kindred spirits. </span><span style="font-size: medium;"><span style="font-family: inherit;"><span style="font-family: inherit;"><span style="font-size: medium;"><span style="font-family: inherit;">Over time, as the club developed regular events, parties and tournaments, plane loads of Hollywood's most famous would fly in for the festivities. Oftentimes it was Howard Hughes who piloted them to town. Eventually, many film and entertainment legends would build getaway homes in the area (there are neighborhoods in Palm Springs known as "Movie Colony," "Movie Colony East" and "Little Beverly Hills") and the gathering
place/watering hole <i>du jour</i> would, for years, be the Racquet Club. Bartender Tex George, who was on the job for 39 years, liked to tell a story about the day a woman, a member's guest, sat down at the bar, ordered a cocktail, looked over her surroundings and asked him if there were any movie stars around. Tex turned to the man sitting a couple of stools away from her and asked if he'd seen any celebrities. "Nope," replied Clark Gable, "haven't seen a single one."<br /></span></span></span></span></span><p style="text-align: left;"></p><p style="text-align: left;"></p><p style="text-align: left;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-family: inherit;"><span style="font-family: inherit;"><span style="font-size: medium;"><span style="font-family: inherit;"></span></span></span></span></span></span></p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjED9N6UK4N-v8gQF_YDthjCLlElE200isDqgdG7bW-BuHMZk02JpL50WRHJmX3OPC2l4WCY3gRb4DnPVaFFCljAC60O3Hs1-6f26jdFmLSeNR-LY1JuCCmMDqnBhQemzlv6WnVgNqYuCo/s1198/Palm+Springs+trio.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="616" data-original-width="1198" height="270" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjED9N6UK4N-v8gQF_YDthjCLlElE200isDqgdG7bW-BuHMZk02JpL50WRHJmX3OPC2l4WCY3gRb4DnPVaFFCljAC60O3Hs1-6f26jdFmLSeNR-LY1JuCCmMDqnBhQemzlv6WnVgNqYuCo/w524-h270/Palm+Springs+trio.jpg" width="524" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Racquet Club days: Charlie and Clark Gable play chess; Charlie with tennis champ Alice Marble and Errol Flynn<br /></td></tr></tbody></table><p style="text-align: left;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-family: inherit;"><span style="font-family: inherit;"><span style="font-size: medium;"><span style="font-family: inherit;"><span style="font-size: medium;"></span></span></span></span></span></span></span></p><p style="text-align: left;"><span style="font-size: medium;"><span style="font-family: inherit;"><span style="font-family: inherit;"><span style="font-size: medium;"><span style="font-family: inherit;"><span style="font-size: medium;">New Year's Eve at the Racquet Club was the place to be for members who were in town over the holidays and reservations sold out months in advance. The main dining room would be packed to the rafters, with the likes of Alice Faye and Phil Harris providing impromptu entertainment. At one party Dixie Lee Crosby, Bing's first wife, quietly pressed Charlie to ask Bing to sing. She said her husband was feeling blue because no one, so far, had asked. Charlie said sure, but he didn't get to it right away. Walking through the closed-for-the-evening bar a bit later, he realized that Bing had left the party because there he was, alone at the piano singing all by himself. Of course, Bing was quite familiar with the club's Bamboo Bar, even knew it well enough to occasionally take over for Tex George and mix drinks for the crowd. And Bing, no doubt, was adept at making one of the club's trademark cocktails, the Bloody Mary. Local lore has it that it was Charlie Farrell who dreamed up the drink a</span></span></span></span></span></span><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-family: inherit;"><span style="font-family: inherit;"><span style="font-size: medium;"><span style="font-family: inherit;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-family: inherit;"><span style="font-family: inherit;"><span style="font-size: medium;"><span style="font-family: inherit;">s a morning-after "hair of the dog" antidote for pesky hangovers</span></span></span></span></span></span></span></span></span></span></span></span><span style="font-size: medium;"><span style="font-family: inherit;"><span style="font-family: inherit;"><span style="font-family: inherit;"><span style="font-size: medium;"><span style="font-family: inherit;">. Although New York's 21 Club has claimed to have originated the Bloody Mary, Palm Springs historians insist that the recipe was borrowed from the Racquet Club.</span></span></span></span></span></span></p><p style="text-align: left;"><span style="font-size: medium;"><span style="font-family: inherit;"><span style="font-family: inherit;"><span style="font-family: inherit;"><span style="font-size: medium;"><span style="font-family: inherit;"></span></span></span></span></span></span></p><p style="text-align: left;"></p><p style="text-align: left;"></p><p style="text-align: center;"><span style="font-size: medium;"><span style="font-family: inherit;"><span style="font-family: inherit;"><span style="font-family: inherit;">
<iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/sN9QR50mGYM" title="YouTube video player" width="560"></iframe> </span></span></span></span></p><p style="text-align: center;"></p><p style="text-align: left;"><span style="font-size: medium;"><span style="font-family: inherit;"><span style="font-family: inherit;"></span></span></span></p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHyzFEOBUNb2R98XbhoLtqt2PJdoz1tXXioeB4Ea_jn44OXNYHtKsX05CKkjZHjngD42Db99dCBTqzRgEp2wif5JVNd-IQfnKicR8lGysN2L2jqYUuWqK2UyPXhttuArj2osotGL9cJZs/s661/Palm+Springs+Powells+2.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="661" data-original-width="449" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHyzFEOBUNb2R98XbhoLtqt2PJdoz1tXXioeB4Ea_jn44OXNYHtKsX05CKkjZHjngD42Db99dCBTqzRgEp2wif5JVNd-IQfnKicR8lGysN2L2jqYUuWqK2UyPXhttuArj2osotGL9cJZs/w273-h400/Palm+Springs+Powells+2.jpg" width="273" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Bill and "Mousie" Powell<br /></td></tr></tbody></table><span style="font-size: medium;"><span style="font-family: inherit;"><span style="font-family: inherit;"><span style="font-family: inherit;"><span style="font-size: medium;"><span style="font-family: inherit;">In 1940 club member William Powell married MGM contract player Diana Lewis and in 1941 the couple moved to Palm Springs. Mrs. Powell was decades younger and a foot or more shorter than her husband. Because she was youthful and so petite he gave her the nickname "Mousie," teasing that she seemed tiny "like a little mouse." The Powells were fixtures at the Racquet Club and Mousie's name would one day figure prominently there. It started when she suggested an evening of round-robin tennis followed by a burger cookout at the pool. As the night wound down, one of the players proclaimed that the burgers being served should be called "Mouseburgers," and they were - from then on. The round-robin weeknight tourney caught on and grew so popular that it turned into a year-round weekly event attracting the local hierarchy as well as Hollywood's finest. It was called the "Mouseburger Tournament" and became the Racquet Club's signature event. But the Racquet Club would also establish itself as a serious tennis mecca, so well-respected in its heyday that the U.S. Davis Cup Team trained there.</span></span></span></span></span></span><p style="text-align: left;"></p><p style="text-align: left;"><span style="font-size: medium;"><span style="font-family: inherit;"><span style="font-family: inherit;"><span style="font-family: inherit;"><span style="font-size: medium;"><span style="font-family: inherit;"></span></span></span></span></span></span></p><p style="text-align: left;"><span style="font-size: medium;"><span style="font-family: inherit;"><span style="font-family: inherit;"><span style="font-family: inherit;"><span style="font-size: medium;"><span style="font-family: inherit;"></span></span></span></span></span></span></p><p style="text-align: left;"><span style="font-size: medium;"><span style="font-family: inherit;"><span style="font-family: inherit;"><span style="font-size: medium;"><span style="font-family: inherit;"></span></span></span></span></span></p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVuT5j3FAkjh9DTV5ivKBAlSAjo3sxQIcCvs-iL8zmdRBtdlUQjeeFO7T9Obh-flHYapUMHAyH754K8m0UZjQ9SGa3l4sxSmV3G-VMewivj-S1u5pOMLhh3tpBHq_mb3KAzQ8bya1SCRU/s814/Palm+Springs+Hyde+and+MM.JPG" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="814" data-original-width="643" height="350" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVuT5j3FAkjh9DTV5ivKBAlSAjo3sxQIcCvs-iL8zmdRBtdlUQjeeFO7T9Obh-flHYapUMHAyH754K8m0UZjQ9SGa3l4sxSmV3G-VMewivj-S1u5pOMLhh3tpBHq_mb3KAzQ8bya1SCRU/w277-h350/Palm+Springs+Hyde+and+MM.JPG" width="277" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Marilyn Monroe and Johnny Hyde at the club on New Year's Eve <br /></td></tr></tbody></table><span style="font-size: medium;"><span style="font-family: inherit;"><span style="font-family: inherit;"><span style="font-size: medium;"><span style="font-family: inherit;">In his priceless (no pun intended) compendium, <i>A Treasury of Great Recipes</i>, Vincent Price (with co-author/wife Mary) offered recipes from world-famous restaurants, including a few Racquet Club specialties. Of the restaurant he wrote, "The chef is French, but some of the greatest dishes here are salads, West Coast seafood, and monumental sandwiches. Cheesecake at the Racquet Club is a must - you can have it for dessert and watch the bikini-clad starlets posing for the pin-up kind." When he penned that last line, Price must've been thinking of the story about the day Marilyn Monroe's poolside posing led to her big screen breakthrough. It was the late '40s and Marilyn, then a hopeful starlet, was at the pool on a photo shoot with Bruno Bernard, a pin-up photographer. Also at the club that day was Johnny Hyde, West Coast VP for the William Morris Agency. Hyde spied Marilyn posing in a blue two-piece, got a camera and began taking his own pictures. He would very soon take over her career. He went on to secure game-changing parts for her in <i>The Asphalt Jungle</i> and <i>All About Eve</i>, both released in 1950. On the strength of these films he was able to negotiate a new seven-year contract for her with Fox by the end of the year. But Johnny Hyde wouldn't live to see Marilyn Monroe's spectacular breakout because he died suddenly only days after her Fox contract was signed.</span></span></span> </span></span><p style="text-align: left;"></p><p style="text-align: left;"><span style="font-size: medium;"><span style="font-family: inherit;"></span></span></p><p style="text-align: left;"><span style="font-size: medium;"><span style="font-family: inherit;"></span></span></p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; text-align: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXq0MHjivO_aGiX1r13XV_8JcEPsWIXJI2ABYoS2c6U_I3mrPEopDsmO_1Sd9_i61UaqNYnclsk4S52SjJmetXLZMzu4rehou0_a8iRtbYTPJqSo_4GkwfRRB6BXofJnUag63qN9Ubmxc/s639/Palm+Springs+Benny+and+Frank.png" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="639" data-original-width="500" height="354" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXq0MHjivO_aGiX1r13XV_8JcEPsWIXJI2ABYoS2c6U_I3mrPEopDsmO_1Sd9_i61UaqNYnclsk4S52SjJmetXLZMzu4rehou0_a8iRtbYTPJqSo_4GkwfRRB6BXofJnUag63qN9Ubmxc/w278-h354/Palm+Springs+Benny+and+Frank.png" width="278" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: medium;"><span style="font-size: small;"><span style="font-family: inherit;"><span>On the radio: Frank Sinatra and Jack Benny</span></span></span><br /></span></td></tr></tbody></table><span style="font-size: medium;"><span style="font-family: inherit;">In 1932, Jack Benny's radio show hit the airwaves. It was a great success and aired for another 33 years. From the early '40s through the early '50s, the program periodically broadcast from Palm Springs. These shows sometimes featured a segment known as "Murder at the Racquet Club" and Charlie Farrell guested on these episodes. As part of a running gag, Benny usually referred to him as "the star of <i>7th Heaven.</i>" Other Hollywood names who were in town - like Peter Lorre, Sam Goldwyn, Frank Sinatra and others - also took roles in the sketches. The Racquet Club itself took a lot of ribbing in these skits, with jokes about its standing as a Hollywood hangout ("all that ham around there isn't just for sandwiches") and especially for its reputation for exclusivity. An early episode has Benny, as the local police chief, demanding entry to the club so he can investigate a murder that's taken place there. "Are you a member?" he's asked. "No," he says. "If you're not a member," he's told, "you can't come in. I'll have to throw the body over the fence." In a later episode Benny, again as police chief, asks why most of the murders in Palm Springs seem to happen at the Racquet Club. "Because people here don't want to be caught dead anywhere else," Charlie replies.</span></span><p></p><p style="text-align: left;"><span style="font-size: medium;"><span style="font-family: inherit;"></span></span></p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgIggRtuoKzYAVIaAmPbmKudpmjwG1mUi5YL2P2cVzEG9XGI8IDwkpMO3Z6ahS6MrVDxIt1GhE0oVvlKo-gnipeb-OCGXoyIuwP1OZRsln-XIsVzNPrRbF1jX_fnkXccpx7DWYDQezHSAE/s485/Palm+Springs+Margie.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="485" data-original-width="378" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgIggRtuoKzYAVIaAmPbmKudpmjwG1mUi5YL2P2cVzEG9XGI8IDwkpMO3Z6ahS6MrVDxIt1GhE0oVvlKo-gnipeb-OCGXoyIuwP1OZRsln-XIsVzNPrRbF1jX_fnkXccpx7DWYDQezHSAE/s320/Palm+Springs+Margie.jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Gale Storm and Charlie Farrell in <i>My Little Margie</i><br /></td></tr></tbody></table><p style="text-align: left;"><span style="font-size: medium;"><span style="font-family: inherit;"><span style="font-size: medium;">By the time Charlie made his last film in 1941, he had acclimated to Palm Springs life. Not only was he immersed in the Racquet Club, but he was also acting as an editor and columnist for a local newspaper and was playing regularly in weekly polo matches. Then came World War II and naval service. When he left the Navy in 1945, having risen to the <span style="font-size: medium;"> rank of Lieutenant Commander, Charlie got involved in local politics. He was elected to the Palm Springs city council in 1945 and became mayor in 1948. He served as mayor for five years and resigned during his run as co-star of the popular TV sitcom <i>My Little Margie</i> and its radio counterpart (1952 - 1955). After <i>Margie </i>ended he undertook his own TV series<i>, The Charlie Farrell Show</i>, for CBS. The comedy was set at the Racquet Club and fictionally mirrored his own life as owner/manager and retired movie star. It was a summer replacement for <i>I Love Lucy </i>in 1956 and would re-air during the summers of 1957 and 1960.</span></span></span></span></p><p style="text-align: left;"><span style="font-size: medium;"></span><span style="font-size: medium;"><span style="font-family: inherit;"><span style="font-size: medium;"><span style="font-size: medium;"></span></span></span></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgC1YAQzaNImmhQRfstbn2ntNAJTN2srt2_pEf-fxzRDrpTwLfEEEooZQSJvh0O8wlD3WybOZXPH6VxwzKSP5m_4CVvNmlRpBlt5x5NUuSrY8nZNmyzIuWeJ5QvsLFBmIuCM_lECc1YhJw/s1043/Palm+Springs+the+charles+farrell+show.JPG" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="366" data-original-width="1043" height="223" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgC1YAQzaNImmhQRfstbn2ntNAJTN2srt2_pEf-fxzRDrpTwLfEEEooZQSJvh0O8wlD3WybOZXPH6VxwzKSP5m_4CVvNmlRpBlt5x5NUuSrY8nZNmyzIuWeJ5QvsLFBmIuCM_lECc1YhJw/w639-h223/Palm+Springs+the+charles+farrell+show.JPG" width="639" /></a><span style="font-size: medium;"><span style="font-family: inherit;"><span style="font-size: medium;"><span style="font-size: medium;"></span></span></span></span></div><p style="text-align: left;"></p><p style="text-align: left;"><span style="font-size: medium;"><span style="font-family: inherit;"><span style="font-size: medium;"><span style="font-size: medium;">From early days, Charlie Farrell had played a key role in the growth and prosperity of Palm Springs. He brought the stars and, thus, the spotlight to town. He served in city government for eight years and for decades was the town's most high profile promoter and spokesperson. For all of this and because his name had become synonymous with the place, he was known with affection as "Mr. Palm Springs." Farrell Drive, a winding thoroughfare that intersects with the street where he lived, was named in his honor, and his residence on East Tachevah Drive would, in time, be officially designated a historic site.<br /></span></span></span></span></p><p style="text-align: left;"><span style="font-size: medium;"></span></p><p style="text-align: left;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-family: inherit;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-family: inherit;">In
1959, the Racquet Club was sold for $1.2 million. Financially, the Farrells were set. As for keeping himself
busy, Charlie would be contracted through a second change of ownership
to operate as managing director, host and public face of the
Racquet Club. When he left at the end of the '60s after his wife Virginia passed away, the club's glamour
years were effectively finished. Decline set in with a series of sales and management changes and as of 2011 it stood empty. Following a devastating fire in 2014, the Racquet Club was razed. One Palm Springs resident spoke of the significance of the Racquet Club's demise. "This is a loss to everyone in Palm Springs," he lamented, "because this was the birth of Palm Springs." <br /></span></span></span></span></span></span></p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmGP-Dim2SMOVjgSRp-Q3uBnODME776T3Xqhf7nbAgSyfZG6y61xraun-yh2TaC-YxXmtTZI2IWqBhSCc6yLUER9MzOPZdcgRO52nbgUeo39aBE742E98N6H5VVf-SxfrHO5l9aRELxP4/s578/Palm+Springs+Charlie+with+Racquet.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="525" data-original-width="578" height="364" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmGP-Dim2SMOVjgSRp-Q3uBnODME776T3Xqhf7nbAgSyfZG6y61xraun-yh2TaC-YxXmtTZI2IWqBhSCc6yLUER9MzOPZdcgRO52nbgUeo39aBE742E98N6H5VVf-SxfrHO5l9aRELxP4/w400-h364/Palm+Springs+Charlie+with+Racquet.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">"Mr. Palm Springs"<br /></td></tr></tbody></table><p style="text-align: left;"></p><p style="text-align: left;"><span style="font-size: medium;"><span style="font-family: inherit;"><span style="font-family: inherit;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-family: inherit;">Charlie Farrell lived out his life on East Tachevah Drive, passing away at home in 1990 at age 89. Reflecting back on his years in movies, radio and TV, he once told an interviewer, "I had a helluva career." In fact, he had a helluva life.</span></span></span></span></span></span></p><p style="text-align: center;"><span style="font-size: medium;"><span style="font-family: inherit;"><span style="font-family: inherit;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-family: inherit;">~ <br /></span></span></span></span></span></span></p><p style="text-align: center;"><span style="font-size: medium;"><span style="font-family: inherit;"><span style="font-family: inherit;"><span style="font-size: medium;"><span style="font-size: medium;"><span style="font-family: inherit;"><b>Members and guests on the scene at the Racquet Club</b> </span></span></span></span> <br /></span></span></p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBb12WFuslV3aai4658k8M6c1EOKP8pinDEkdwmgqTNg1rl8Uib08m9OBJq14RvCtMV2WC4KSO4NqrxDv-dOetqAIuj-ueG0eok3vt1MSJ8YeBaJTkupNfEzWOd-K1NgxI2PCeyKKye7A/s400/Palm+Springs+Powell+Farrell+dinner.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="313" data-original-width="400" height="324" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBb12WFuslV3aai4658k8M6c1EOKP8pinDEkdwmgqTNg1rl8Uib08m9OBJq14RvCtMV2WC4KSO4NqrxDv-dOetqAIuj-ueG0eok3vt1MSJ8YeBaJTkupNfEzWOd-K1NgxI2PCeyKKye7A/w415-h324/Palm+Springs+Powell+Farrell+dinner.jpg" width="415" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"> Left, Louella Parsons and Bill Powell; right rear, Charlie and Mousie; Back table, Frank Sinatra<br /></td></tr></tbody></table><span style="font-size: medium;"><span style="font-family: inherit;"><br /></span><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJR-z5YOS2eHMlHdXX9B67-rDsBRx07BLifAtqkHCCHSiXritw_QM8rh8fWOqjzogwqiLq8vhdF9WWg69MGIWK9hrAlh9C6OdyzMrXVFv3Rx2C_ho-McFYjpYS7W621wlXVOKAObyNME0/s600/Couples.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="282" data-original-width="600" height="249" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJR-z5YOS2eHMlHdXX9B67-rDsBRx07BLifAtqkHCCHSiXritw_QM8rh8fWOqjzogwqiLq8vhdF9WWg69MGIWK9hrAlh9C6OdyzMrXVFv3Rx2C_ho-McFYjpYS7W621wlXVOKAObyNME0/w534-h249/Couples.jpg" width="534" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Left: Natalie Wood, Robert Wagner, Tony Curtis, Janet Leigh; right, Doris Day and Kirk Douglas<br /></td></tr></tbody></table></span><p style="text-align: left;"></p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhvg3iVW2ZShvM8XD8in7QtqkJBrPhtEgCnPWylPlkvOLebnLZ-nkEi3gsuQ_GMCD3a0qU-XsI7gA4D5q4QjJ6ZdsAEXdjfst_d_ipZ3TNvF91Xw_I84Zm8Qizi36tEFzjsEWVmHyaPEZA/s399/Palm+Springs+Audrey.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="399" data-original-width="277" height="361" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhvg3iVW2ZShvM8XD8in7QtqkJBrPhtEgCnPWylPlkvOLebnLZ-nkEi3gsuQ_GMCD3a0qU-XsI7gA4D5q4QjJ6ZdsAEXdjfst_d_ipZ3TNvF91Xw_I84Zm8Qizi36tEFzjsEWVmHyaPEZA/w250-h361/Palm+Springs+Audrey.jpg" width="250" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Audrey Hepburn and friend in the desert sun<br /></td></tr></tbody></table><p style="text-align: center;"><b>~ <br /></b></p><p style="text-align: center;"><b><span style="font-size: medium;"><span style="font-family: inherit;">The Charles Farrell Salad, recipe from <i>A Treasury of Great Recipes: Specialties from the World's Foremost Restaurants </i>by Vincent and Mary Price</span></span></b></p><p style="text-align: center;"><b></b></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiElAzYm1AscyHnY9-uH7UmohfYjG_uAAictdwfEFkwBn3PQ77-d1WJimbrf2vhQFuAQrvdWoDaRvdOUIm0AcCcO8eBS664x0YP_ady3_ZBUKFP5EkT6pIy6BYcSpHCbJFlAzLcgAeDBw4/s1028/Palm+Springs+salad.JPG" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="477" data-original-width="1028" height="297" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiElAzYm1AscyHnY9-uH7UmohfYjG_uAAictdwfEFkwBn3PQ77-d1WJimbrf2vhQFuAQrvdWoDaRvdOUIm0AcCcO8eBS664x0YP_ady3_ZBUKFP5EkT6pIy6BYcSpHCbJFlAzLcgAeDBw4/w644-h297/Palm+Springs+salad.JPG" width="644" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><br /></td></tr></tbody></table><p style="text-align: left;"></p><p style="text-align: left;"></p><p style="text-align: center;">~<br /></p><p style="text-align: left;"><span style="font-size: medium;"><u>References</u></span></p><p style="text-align: left;"><u>
</u></p><p class="MsoNormal" style="text-align: left;">Sports Illustrated, “Charlie’s Seventh Heaven” by Alfred
Wright, April 15, 1963</p><p class="MsoNormal" style="text-align: left;"><i>A Treasury of Great Recipes: Famous Specialties from the World's Foremost Restaurants</i> by Vincent and Mary Price, Bernard Geis Associates, 1965 <br /></p>
<p class="MsoNormal" style="text-align: left;">Palm Springs Public Library History Project, Mousie Powell interview, July 15, 1987 (YouTube)</p>
<p class="MsoNormal" style="text-align: left;">Los Angeles Times, “Charles Farrell, 89; Film and TV Actor,
Developer, Former Palm Springs Mayor,” by Burt A. Folkart, <span style="mso-spacerun: yes;"> </span>May 11, 1990</p>
<p class="MsoNormal" style="text-align: left;">Palm Springs Life, “Creating a Racquet (Club)” by Gloria
Green, December 8, 2012</p>
<p class="MsoNormal" style="text-align: left;">The Desert Sun, “Racquet Club Attracted Hollywood to Palm
Springs,” by Renee Brown, July 2, 2016</p>
<p class="MsoNormal" style="text-align: left;">Palm Springs Life, “Love Match” by David Lansing, Sept. 1,
2016</p><p class="MsoNormal" style="text-align: left;"><span style="font-size: medium;">The <a href="https://www.ladyevesreellife.com/p/old-hollywood-haunts.html">"Old Hollywood Haunts" series</a> has been voted the Best Film Series of 2021 by the Classic Movie Blog Association. Thanks to the members for the honor!</span></p><p class="MsoNormal" style="text-align: left;"><span style="font-size: medium;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWljK13cfFUBw_AD9AcXeoNif7bU1vQDsNdYOBWBJBz3-GF7H2Wv9tcIDZwDn9qXBLfFuVF2Gn-88o9RTu45kr131P6A7caRt2ZOwKzr9ip6yKS0j6_N76jFpy-Dw3pZj7nCIWPwQ3iCg/s611/2021+CMBA+Series.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="611" data-original-width="494" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWljK13cfFUBw_AD9AcXeoNif7bU1vQDsNdYOBWBJBz3-GF7H2Wv9tcIDZwDn9qXBLfFuVF2Gn-88o9RTu45kr131P6A7caRt2ZOwKzr9ip6yKS0j6_N76jFpy-Dw3pZj7nCIWPwQ3iCg/s320/2021+CMBA+Series.jpg" width="259" /></a></span></div><span style="font-size: medium;"><br /> </span> <br /><p></p>
The Lady Evehttp://www.blogger.com/profile/11963115499930520653noreply@blogger.com6tag:blogger.com,1999:blog-8509825018139758536.post-65301559967431634922021-02-14T09:29:00.018-08:002021-12-15T09:05:23.523-08:00Old Hollywood Haunts, Pt. 1: A Birthday Remembrance for the Brown Derby on Vine...<div><div><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjeQMbpdr2vvUVkIVwWJ-O36xtkfPCx0lV34wY6dYZnTU3jwgAvE13oOju07TAdN5WeJynsVmEk3RXEeCMMVOOqbkuxYq-Pefvc0pVT1wsqTsQTAcTJcLuk8b_ETJMBF9N1cuOc5JEOfsk/s1025/Brown+Derby+Collage.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1025" data-original-width="1023" height="444" id="_idgpn_1" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjeQMbpdr2vvUVkIVwWJ-O36xtkfPCx0lV34wY6dYZnTU3jwgAvE13oOju07TAdN5WeJynsVmEk3RXEeCMMVOOqbkuxYq-Pefvc0pVT1wsqTsQTAcTJcLuk8b_ETJMBF9N1cuOc5JEOfsk/w443-h444/Brown+Derby+Collage.jpg" width="443" /></a></span></div><span style="font-size: medium;"></span><p><span style="font-size: medium;">I lived in Hollywood, once upon a time, on Poinsettia between Fountain and Santa Monica Blvd., not far from Melrose. It was the early '80s and I was working at a radio station on Sunset at North Genesee, across from the Screen Actors Guild. Ed Asner was the president of the guild then and I met him one afternoon, along with most of my co-workers, when SAG hosted an open house in the space it had just leased on the second floor of our building. This was around the time I was getting to know the Brown Derby at the intersection of Vine St. and Hollywood Blvd. Known locally as the Hollywood Derby, it was the radio station's go-to spot for good-bye and birthday and bon voyage lunches. The place always seemed to be bustling and I would never have guessed then that it would be gone forever within two or three years.<span></span></span></p><a name='more'></a><p></p><p style="text-align: left;"><span style="font-size: medium;"><span style="font-size: medium;">The original Brown Derby, a hat-shaped eatery on Wilshire, opened in 1926. The inspiration of screenwriter Wilson Mizner and producer Herbert Somborn, Gloria Swanson's second husband, it is said to have begun with a dare. Mizner challenged Somborn, "If you know anything about food, you can sell it out of a hat." Originally known as The Little Hat, the restaurant was built by Mizner, Somborn and, allegedly, theater owner Sid Grauman and Jack Warner. Some of its first patrons were the greatest stars of the day: Mary Pickford,Charlie Chaplin, Will Rogers and Rudolph Valentino.<br /></span></span></p><p></p><p><span style="font-size: medium;"></span></p><span style="font-size: medium;"><span style="font-size: medium;"><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEivRywrf8ViHBAbFDDxyd_anniQV5WTN3cxVDQEFhxZG_fO3m4kp9fabR8mgHyLG9vMBY9hf7titMOKq5DNhrGIIp71ynb_gE6f_Bl6kP0bPxBpTIlX4fV3zBBHXa8HhcxnWaEERZ-lPPk/s450/brown+derby+cobb+salad.jpg" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="450" data-original-width="450" height="320" id="_idgpn_2" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEivRywrf8ViHBAbFDDxyd_anniQV5WTN3cxVDQEFhxZG_fO3m4kp9fabR8mgHyLG9vMBY9hf7titMOKq5DNhrGIIp71ynb_gE6f_Bl6kP0bPxBpTIlX4fV3zBBHXa8HhcxnWaEERZ-lPPk/s320/brown+derby+cobb+salad.jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Cobb Salad<br /></td></tr></tbody></table>The second restaurant, located at "Hollywood & Vine," opened on Valentine's Day 1929. It was this site (Derbys in Beverly Hills and Los Feliz were yet to come) that drew the crush of stars and moguls and agents, assorted movie folk and hangers-on and developed a reputation as a sizzling-hot spot. Robert Cobb was 26 years old and a promising restaurateur when Herbert Samborn tapped him to manage the soon-to-open new Derby. For a while, Cobb would simultaneously serve as headwaiter, assistant chef, bouncer and bookkeeper among many other responsibilities. Legend has it that he invented the famed <a href="https://mission-food.com/the-hollywood-brown-derby-cobb-salad/" target="_blank"><b>Cobb Salad</b></a> for a famished Sid Grauman one night. An impromptu medley of miscellaneous leftovers, Cobb would finely chop the ingredients to accommodate Grauman's recent dental work.<br /></span></span><p></p><p><span style="font-size: medium;"></span></p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh57R3nCKE8-dJjIUoRQkVFmPSSrJFz01h3_rFRqnr6LePOwcZcGyAFshOdFsFYI8QwQ0TmFDMVphMqpo9iyp4FfgM09arMSvIZyo8BGAAGZ6ljmfgsq_ZbkRSRmH_nyXpAi6BH8MHXqEQ/s633/Brown+Derby+Rita+Orson.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="509" data-original-width="633" id="_idgpn_3" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh57R3nCKE8-dJjIUoRQkVFmPSSrJFz01h3_rFRqnr6LePOwcZcGyAFshOdFsFYI8QwQ0TmFDMVphMqpo9iyp4FfgM09arMSvIZyo8BGAAGZ6ljmfgsq_ZbkRSRmH_nyXpAi6BH8MHXqEQ/s320/Brown+Derby+Rita+Orson.jpg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Rita and Orson at the Hollywood Derby<br /></td></tr></tbody></table><span style="font-size: medium;"><span style="font-size: medium;">The new Derby was in the heart of Hollywood, conveniently close to movie studios, theaters, and other entertainment-related enterprises. It became a magnet for a glittery clientele that regularly stopped by, sometimes in costume, for lunch or dinner or a few drinks at the end of a hectic day. </span><span style="font-size: medium;"><span style="font-size: medium;">It
was the Derby that began the local tradition of paging patrons and bringing telephones to them so they could take calls at
their tables. A</span>t its height, the restaurant was open 24 hours a day, seven days a week. </span><br /></span><p></p><p><span style="font-size: medium;"></span></p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgSE5Qs9MsROAW3GFGbB_IBVVEStsNqyrZyXd58vhq3LMxAPUi4azXD61RCUZZjjjkj_5SnYa6RFk90BDx1cgdjzjxm6ckRE49Gw6ruraGDokwWrSAOSJNJnjZtuHq98T5x67FLT9ILGr0/s559/Brown+Derby+Ava+Cary.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="559" data-original-width="505" height="320" id="_idgpn_4" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgSE5Qs9MsROAW3GFGbB_IBVVEStsNqyrZyXd58vhq3LMxAPUi4azXD61RCUZZjjjkj_5SnYa6RFk90BDx1cgdjzjxm6ckRE49Gw6ruraGDokwWrSAOSJNJnjZtuHq98T5x67FLT9ILGr0/w289-h320/Brown+Derby+Ava+Cary.jpg" width="289" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Cary and Ava at the Hollywood Derby<br /></td></tr></tbody></table><span style="font-size: medium;"><span style="font-size: medium;">The Hollywood Derby's 50+ year lifetime spanned every decade of the movie capital's great golden era. Its history overflows with anecdotes, tales and myths - like these...</span></span><p></p><ul style="text-align: left;"><li><span style="font-size: medium;">In early 1939, Clark Gable proposed to Carole Lombard at the Derby's table #5. The pair soon eloped to Kingman, Arizona, where they were married.<br /></span></li><li><span style="font-size: medium;">In May 1942, Alfred Hitchcock and writer Gordon McDonell sat down over lunch and discussed the story that was to become one of the great Hitchcock classics, <i>Shadow of a Doubt</i> (1943).</span></li><li><span style="font-size: medium;">Rival gossip columnists Hedda Hopper and Louella Parsons lunched at the Derby daily at noontime. Each held court at her own table - on opposite sides of the room.<br /></span></li><li><span style="font-size: medium;">An oft-repeated tale tells of the time i</span><span style="font-size: medium;"><span style="font-size: medium;">n 1933 when Marlene Dietrich arrived for dinner wearing slacks. Her then-unconventional look caused a commotion and Cobb refused to seat her. But a 1936 article in Silver Screen magazine offers a different story. In it, an anonymous former Derby headwaiter recalled "the famous day when Miss Marlene Dietrich appeared at the Derby wearing a gray man's suit." He was very surprised, he said, nevertheless he bowed, invited her in and seated her at the first table. </span> </span></li></ul><p><span style="font-size: medium;">The Derby kitchen had a reputation for quality and authenticity and its menu offered a fantastic variety. The array of choices on a given day might include classic American steak and seafood entrees, casual bistro fare, enchiladas and tamales, and </span><span style="font-size: medium;"><span style="font-size: medium;">fresh frog legs "Chinese style." </span>And much more. Naturally, there was great fascination with who-ate-what:</span></p><p><span style="font-size: medium;"></span></p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiSOM1hUqguvWsUKOolrgzYfvGeu0VBiD8M7NxgLkPrcpuv4z0Omic38AYRdCzOjl_sdZW2pUTL5CGHm_hLNCjy9sFS0CppY70UkYcg3XT5TTGShqJUUEnc6x6wGHTxiSGifMCl2B45DE4/s826/brown+derby+cb+hash.jpeg" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="620" data-original-width="826" id="_idgpn_5" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiSOM1hUqguvWsUKOolrgzYfvGeu0VBiD8M7NxgLkPrcpuv4z0Omic38AYRdCzOjl_sdZW2pUTL5CGHm_hLNCjy9sFS0CppY70UkYcg3XT5TTGShqJUUEnc6x6wGHTxiSGifMCl2B45DE4/s320/brown+derby+cb+hash.jpeg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Corned Beef Hash with poached eggs<br /></td></tr></tbody></table><p></p><ul style="text-align: left;"><li><span style="font-size: medium;">Claudette Colbert loved the chicken hash.</span></li><li><span style="font-size: medium;">Norma Shearer liked the lamb chops. <br /></span></li><li><span style="font-size: medium;">Tyrone Power's favorite was boiled brisket of beef with horseradish sauce.</span></li><li><span style="font-size: medium;">Gary Cooper preferred his fried chicken on the dry-not-greasy side.</span></li><li><span style="font-size: medium;">James Cagney favored seafood salads. <br /></span></li><li><span style="font-size: medium;">Clark Gable and Wallace Beery ordered corned beef hash (served at the Derby with poached eggs on top). Beery usually had crepes Suzette for dessert - or, on occasion, sponge cake topped with catsup.</span></li><li><span style="font-size: medium;">For Louella Parsons, who was always watching her weight, Robert Cobb came up with the Derby's trademark chiffon Grapefruit Cake when she requested a light dessert to complement her "grapefruit diet."</span></li></ul><p><span style="font-size: medium;"></span></p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiCpNaKZmXmBCLAiDBQkLubzj9S2u1_G6N1gjwnXhzl8Kx_fO8ASQs702TgIDPTdRaeRFe8mfHgRuFIopO5AnMGSAvVSIEPSLwDOoifWQJA-l9NhxznP9osVNMmrh8Y8B30itZ4McRsKt4/s945/Brown+Derby+Gable.png" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="945" data-original-width="653" height="418" id="_idgpn_6" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiCpNaKZmXmBCLAiDBQkLubzj9S2u1_G6N1gjwnXhzl8Kx_fO8ASQs702TgIDPTdRaeRFe8mfHgRuFIopO5AnMGSAvVSIEPSLwDOoifWQJA-l9NhxznP9osVNMmrh8Y8B30itZ4McRsKt4/w289-h418/Brown+Derby+Gable.png" width="289" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Gable and Lombard on the farm<br /></td></tr></tbody></table><span style="font-size: medium;"><span style="font-size: medium;">It came to pass that certain of Cobb's patrons did more than dine and drink at the popular restaurant, they also supplied some of the ingredients for the dishes on the menu. </span></span><br /></div><ul style="text-align: left;"><li><span style="font-size: medium;">Wallace and Noah Beery provided trout from their trout farm in the San Gabriel Mountains.</span></li><li><span style="font-size: medium;">Broccoli came from Barbara Stanwyck and Robert Taylor's place in the San Fernando Valley.<br /></span></li><li><span style="font-size: medium;">Corn was supplied by Clark Gable and Carole Lombard from their farm in Encino.<br /></span></li><li><span style="font-size: medium;">Wallace Ford provided potatoes for the Derby from his local ranch.</span></li></ul></div><div style="text-align: left;"><span style="font-size: medium;">When Herbert Somborn died in 1934,
he left the mini-chain that now consisted of three Derbys awash in debt. Robert Cobb took over and would do so well that by 1938 he was able to buy a new minor league baseball
team, the Hollywood Stars. He had some help from a select group of investors: George
Burns, Gary Cooper, Bing Crosby, Cecil B. DeMille, Walt Disney, Barbara
Stanwyck and Robert Taylor. Then, in 1941, Cobb opened a fourth and final Derby
in Los Feliz; it boasted a "car cafe" with carhops.</span></div><div style="text-align: center;"> </div><div style="text-align: center;">~<br /></div><span style="font-size: medium;"></span><div><p><span style="font-size: medium;"></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGVFTHeDkIoEJvD-xFdS1pwbj7MZ5A_K2gOQESAuqyFYaOaHMXw9j6y5yN6e2KwTG1SD3IRb2k1oxKOE8_JM8e775ce3Wsol3MFYB4bm4cqIuO8OfO8bXpG2LmikLCVDcN2hA1M3hMh2s/s912/Brown+Derby+Lucy.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="912" data-original-width="473" height="500" id="_idgpn_7" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGVFTHeDkIoEJvD-xFdS1pwbj7MZ5A_K2gOQESAuqyFYaOaHMXw9j6y5yN6e2KwTG1SD3IRb2k1oxKOE8_JM8e775ce3Wsol3MFYB4bm4cqIuO8OfO8bXpG2LmikLCVDcN2hA1M3hMh2s/w260-h500/Brown+Derby+Lucy.jpg" width="260" /></a><span style="font-size: medium;"></span></div><span style="font-size: medium;">Lucille Ball relocated from New York to Hollywood in 1933. She became an avid patron of the Hollywood Brown Derby from her earliest days as a starlet and, in 1955, when she was TV's biggest star, she took the opportunity to put a spotlight on her favorite old haunt. During its fourth mega-hit season, <i>I Love Lucy</i> opted for a change of scenery from Lucy and Ricky Ricardo's East 68th Street apartment in New York City. Ricky, whose regular gig was as singer/bandleader at the Tropicana nightclub, was offered the lead in an upcoming MGM musical, <i>Don Juan</i>. In no time at all the Ricardos, along with the Mertzes, were headed for Hollywood. After several episodes covering their cross-country car trip, the foursome would arrive in Tinseltown in episode 17, "L.A., At Last." Eve Arden and William Holden were the guest stars and a replica of the Hollywood Derby was a featured setting. Lucy, Ethel and Fred go to the Derby to do some stargazing and have some lunch. First Fred spies Ava Gardner - off-camera. Then who should be seated in plain sight in the booths on either side of the trio but Miss Arden and Mr. Holden. A starstruck Lucy makes such a scene over being in close proximity to Holden that when Ricky later brings the actor to their hotel room to meet her, Lucy dons a bizarre disguise so he won't recognize her. It is arguably the best and the funniest of all 180 episodes of <i>I Love Lucy</i>.</span></div><div><span style="font-size: medium;"> </span></div><div><div style="text-align: center;"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5uV8UkbpGKU3PGzBXhvoAAJELu2x2W3F26YJfnJH7TN-Ux19ZiXL20zFq9yy3BJo30ls8OqpxgtwpJBfYikGPuV07QzEdaUsqnVKnrUj7FZdDn91IbfP4UHo-9Jv1XJIYdeVPO3_Tick/s903/Brown-Derby-menu-art-from-1948-754x1024-1-e1603385151195.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="903" data-original-width="676" height="400" id="_idgpn_8" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5uV8UkbpGKU3PGzBXhvoAAJELu2x2W3F26YJfnJH7TN-Ux19ZiXL20zFq9yy3BJo30ls8OqpxgtwpJBfYikGPuV07QzEdaUsqnVKnrUj7FZdDn91IbfP4UHo-9Jv1XJIYdeVPO3_Tick/w300-h400/Brown-Derby-menu-art-from-1948-754x1024-1-e1603385151195.jpg" width="300" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">1948 Brown Derby menu cover with locations map<br /></td></tr></tbody></table></div><div style="text-align: left;"><span style="font-size: medium;"><span style="font-size: medium;"> </span></span></div><div style="text-align: left;"><span style="font-size: medium;"><span style="font-size: medium;">Eventually times and tastes would change. </span><span style="font-size: medium;"><span style="font-size: medium;">Old Hollywood began to fade and New Hollywood was on the horizon. The Los Feliz Brown Derby closed its doors in 1960</span>. Robert Cobb passed away in 1970 and the Brown Derby Corp. was sold in 1975. The Wilshire location shuttered in 1980 and Beverly Hills went dark in 1982. Due to a lease dispute, the Hollywood Derby closed in 1985 but, through a licensing agreement with the Walt Disney Company, it managed to live on - though very far from Hollywood. Some years after the Vine Street restaurant closed, an exact, if unavoidably pale, duplicate of the original Hollywood Brown Derby opened at Disney World in Orlando, Florida. </span></span></div><div style="text-align: left;"><span style="font-size: medium;"><span style="font-size: medium;"><br /></span></span></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjH1OUwLAaaBr2Q50rb_libszp4G-5I7Ej0Vo_iAv_LWY1iycYHzMcmAVvP5AEyZ8JImCJcrLmh7IGiqmVekQVeM8XRvELJHk-yqafjCtBwQEpGHbnRkYJ0JRseDnWLOqnJPzl59gncl08/s640/Brown+Derby+Neon.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="427" data-original-width="640" height="296" id="_idgpn_9" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjH1OUwLAaaBr2Q50rb_libszp4G-5I7Ej0Vo_iAv_LWY1iycYHzMcmAVvP5AEyZ8JImCJcrLmh7IGiqmVekQVeM8XRvELJHk-yqafjCtBwQEpGHbnRkYJ0JRseDnWLOqnJPzl59gncl08/w442-h296/Brown+Derby+Neon.jpg" width="442" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Restored: the Hollywood Brown Derby's neon sign<br /></td></tr></tbody></table><p></p><p></p><p><span style="font-size: medium;">On a cheerier note, the classic derby-shaped neon sign that had perched, unabashed, atop the Hollywood Derby from the early '30s was rescued from oblivion five years ago. Having changed hands several times over the decades, the fully restored beauty now resides at Glendale's Museum of Neon Art.<br /></span></p><p><span style="font-size: medium;">For those wishing to celebrate by raising a glass to the opening of the fabled Hollywood Brown Derby on February 14, 1929, I suggest a Brown Derby Cocktail. Though it didn't originate at the restaurant's Bamboo Room, the cocktail is properly named and features grapefruit juice, in keeping with the Derby's signature Grapefruit Cake. According to Liquor.com, a recent compendium of cocktails states that the drink was created at L.A.'s Vendome Club during the 1930s in honor of the Brown Derby. The website also notes that the drink appeared in a book titled <i>Hollywood Cocktails</i> published in 1933. More importantly, Liquor.com promises "a refreshing blend of bourbon, grapefruit juice and honey syrup...a trio of simple ingredients [that] belies the complex taste of the drink, as the honey bridges the gap between the tart citrus and the spicy bourbon." Well, let's find out. Here's the recipe:</span></p><p><span style="font-size: medium;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLyJzaXKwfsbhab2ckIEtTbKth19FJxEAsexSS6wmLjUsunpNEZxYsi-5OziWiOmGruipvV0dYFlD2e06XgM_0uw_vuCzXXpOVitI7ZAgQu702v-5C2Q5qQ3ZNaoYxCFkbTYAq1DXiXD8/s543/Brown+Derby+Cocktail.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="543" data-original-width="541" height="320" id="_idgpn_10" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLyJzaXKwfsbhab2ckIEtTbKth19FJxEAsexSS6wmLjUsunpNEZxYsi-5OziWiOmGruipvV0dYFlD2e06XgM_0uw_vuCzXXpOVitI7ZAgQu702v-5C2Q5qQ3ZNaoYxCFkbTYAq1DXiXD8/s320/Brown+Derby+Cocktail.JPG" /></a></span></div><span style="font-size: medium;"></span><p></p><p style="text-align: center;"><span style="font-size: medium;"> <b>Brown Derby Cocktail</b></span></p><ul style="text-align: left;"><li><span style="font-size: medium;">1-1/2 oz. Bourbon <br /></span></li><li><span style="font-size: medium;">1 oz. freshly squeezed grapefruit juice</span></li><li><span style="font-size: medium;">1/2 oz. honey syrup (combine equal parts honey and water in a saucepan, stir 'til honey dissolves, cool and transfer to an airtight container; refrigerate for up to a month)</span></li><li><span style="font-size: medium;">Garnish: grapefruit twist or grapefruit wedge <br /></span></li></ul></div><div><span style="font-size: medium;">Add the bourbon, grapefruit juice and honey syrup into a shaker with ice and shake until well-chilled. Strain into a cocktail glass. Express the oil from a grapefruit twist and drop in to garnish or garnish with a grapefruit wedge.</span></div><div><span style="font-size: medium;"> </span></div><div><span style="font-size: medium;">To the Hollywood Brown Derby! <br /></span></div><div><span style="font-size: medium;"> <br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5wVd9lN9w3V6B9s4jb4N2JfeFryuMt4jWC2znwdQRGn-ZTHa5SgtP5cFtMpevvWc303Nmr9k32ppt8xVelaFagUe9rz4ahb7YIfutxuw_716RwDJUmYkrDOadE3-ZmNIbxQbiobLb05Y/s699/Brown+Derbys.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="427" data-original-width="699" height="263" id="_idgpn_11" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5wVd9lN9w3V6B9s4jb4N2JfeFryuMt4jWC2znwdQRGn-ZTHa5SgtP5cFtMpevvWc303Nmr9k32ppt8xVelaFagUe9rz4ahb7YIfutxuw_716RwDJUmYkrDOadE3-ZmNIbxQbiobLb05Y/w431-h263/Brown+Derbys.jpg" width="431" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">All four Brown Derbys<br /></td></tr></tbody></table></span><p><span style="font-size: medium;"><u>References</u></span></p><p><span style="font-size: medium;"><i>Hollywood du Jour</i> by Betty Goodwin, Angel City Press, 1993<br /></span></p><p><span style="font-size: medium;">Silver Screen magazine, September 1936, "Some Wait for Fame and Some Wait on Tables" as told to Muriel Babcock<br /></span></p><p><span style="font-size: medium;">The Los Angeles Times, November 27, 2005, "Once in Fashion, the Brown Derby Became Old Hat" by Cecelia Rasmussen</span></p><p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_irPfbGocUzGRFzZy66nyc3rnFBHNY2uG-6JY6qI6q6FVTJFYJc_FWR_XzyPhNbIZKplgdbHQRXsj_LiVk3W_XZJqpC7jTrPZOQDUcaMD3jC0VicqbIkUUL8k0LYOemCSIZ49YVn28vc/s738/Brown+Derby+Life+1937.JPG" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="738" data-original-width="521" height="447" id="_idgpn_12" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_irPfbGocUzGRFzZy66nyc3rnFBHNY2uG-6JY6qI6q6FVTJFYJc_FWR_XzyPhNbIZKplgdbHQRXsj_LiVk3W_XZJqpC7jTrPZOQDUcaMD3jC0VicqbIkUUL8k0LYOemCSIZ49YVn28vc/w316-h447/Brown+Derby+Life+1937.JPG" width="316" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Life magazine 1937, Bamboo Room entrance to the Hollywood Derby</td><td class="tr-caption" style="text-align: center;"><br /></td></tr></tbody></table></div><div></div><div>The <a href="https://www.ladyevesreellife.com/p/old-hollywood-haunts.html">"Old Hollywood Haunts" series</a> has been voted the Best Film Series of 2021 by the Classic Movie Blog Association. Thanks to the members for the honor!</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLxraHybXCOkxKXF1oV2Jl9kLBXhyphenhyphenMxSyt2mDn-Uq4jKDGF5_UUoFe-_TJmk_fqRT0noAw3TmwPFMAZRrIuzazA7RJUM3BjnSA5X39VEUS60zcSe4oaSXilLmEydigH3BohZBqOkenuuI/s611/2021+CMBA+Series.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="611" data-original-width="494" height="320" id="_idgpn_13" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLxraHybXCOkxKXF1oV2Jl9kLBXhyphenhyphenMxSyt2mDn-Uq4jKDGF5_UUoFe-_TJmk_fqRT0noAw3TmwPFMAZRrIuzazA7RJUM3BjnSA5X39VEUS60zcSe4oaSXilLmEydigH3BohZBqOkenuuI/s320/2021+CMBA+Series.jpg" width="259" /></a></div><br /><div><br /></div><input id="idg-io-safe-browsing-enabled" oninit="true" type="hidden" />The Lady Evehttp://www.blogger.com/profile/11963115499930520653noreply@blogger.com6tag:blogger.com,1999:blog-8509825018139758536.post-73462096166665484082021-01-31T00:00:00.009-08:002021-02-14T11:43:47.394-08:00WILSON (1944), Darryl F. Zanuck's Forgotten Campaign for World Peace<span style="font-family: inherit;"><span style="font-size: medium;"><span>
</span></span></span><p class="para" style="margin: 0in;"><span style="font-family: inherit;"><span style="font-size: medium;"><span><i><span style="font-style: normal;"></span></i></span></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: inherit;"><span style="font-size: medium;"><span><i><span style="font-style: normal;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEioCJRgwnIXed4_zzlyAwKtyO8hW0XJPNyE0CLLeDdYgBVrSDLc1-chENVlkOdsRD5SOhIpXWDQUkfWo705no6jCDUH8qcjeRTFIYTlv8GDd7oA6TpSW0afspHvstWnACvWg-B2qZfeUds/s1258/Wilson+Collage+2.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="888" data-original-width="1258" height="397" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEioCJRgwnIXed4_zzlyAwKtyO8hW0XJPNyE0CLLeDdYgBVrSDLc1-chENVlkOdsRD5SOhIpXWDQUkfWo705no6jCDUH8qcjeRTFIYTlv8GDd7oA6TpSW0afspHvstWnACvWg-B2qZfeUds/w562-h397/Wilson+Collage+2.jpg" width="562" /></a></span></i></span></span></span></div><span style="font-family: inherit;"><span style="font-size: medium;"><span><i><span style="font-style: normal;">It was August 1944 and World War II was advancing
toward its cataclysmic end when 20<sup>th</sup> Century Fox launched a heavily
promoted biographical spectacular, Darryl F. Zanuck’s production of </span></i><i>Wilson. </i><i><span style="font-style: normal;">A tribute to Woodrow Wilson, 28<sup>th</sup> president of the United
States, and his vision for world peace, </span></i><i>Wilson </i><i><span style="font-style: normal;">was the most lavishly mounted film since David O. Selznick’s
</span></i><i>Gone
with the Wind </i>(1939)<i> <span style="font-style: normal;">and would go on to be nominated for 10 Oscars,
including Best Picture. The film debuted with great fanfare and was received
with acclaim and enthusiasm. The Washington Post raved, citing </span></i><i>Wilson</i><i><span style="font-style: normal;"> as “one of the most distinguished films in the whole history of cinema.”
Yet </span></i><i>Wilson</i><i><span style="font-style: normal;"> would also earn a reputation as “Zanuck’s folly” and disappear into the dustbin of movie history.<span><a name='more'></a></span></span></i></span></span></span><span style="font-family: inherit;"><span style="font-size: medium;"><span>
</span></span></span><p></p><p align="center" class="para" style="margin: 0in; text-align: center;"><span style="font-family: inherit;"><span style="font-size: medium;"><span><i><span style="font-style: normal;"><span> </span>~</span></i></span></span></span></p><span style="font-family: inherit;"><span style="font-size: medium;"><span>
</span></span></span><p class="para" style="margin: 0in;"><span style="font-family: inherit;"><span style="font-size: medium;"><span><i><span style="font-style: normal;"> </span></i></span></span></span></p><p class="para" style="margin: 0in;"><span style="font-family: inherit;"></span></p><p class="para" style="margin: 0in;"><span style="font-family: inherit;"><span style="font-size: medium;"><span><i><span style="font-style: normal;"></span></i></span></span></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjAe5Fda5Xfwbugm33FKYcooFja7HGdSOcUZL0ZAp1YJvMw9oLDwKBF81o2db-wJdtMjaPKmK7BMXbQnQlE3GKeR2Xx0VVD8x4Ro7CeqStcv_g_ZrLk8T4obrYWAejIQZvbwY3z5iTvEKY/s344/Wilson+in+Paris.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="210" data-original-width="344" height="244" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjAe5Fda5Xfwbugm33FKYcooFja7HGdSOcUZL0ZAp1YJvMw9oLDwKBF81o2db-wJdtMjaPKmK7BMXbQnQlE3GKeR2Xx0VVD8x4Ro7CeqStcv_g_ZrLk8T4obrYWAejIQZvbwY3z5iTvEKY/w400-h244/Wilson+in+Paris.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">British Prime Minister Lloyd George, France's Clemenceau and Woodrow Wilson<br /></td></tr></tbody></table><span style="font-family: inherit;"><span style="font-size: medium;">In January 1919, the Paris Peace Conference began. The hopeful world watched and listened as World War I’s peacemakers,
most prominently the prime ministers of England and France and the President of
the U.S., gathered to settle the terms of a peace treaty with Germany.<br /></span></span><p><span style="font-family: inherit;"><span style="font-size: medium;"><span>
Parisians, thrilled by his proposed program
for peace, hailed the arrival of the American president. A year earlier Woodrow Wilson
had presented his “Fourteen Points,” a set of guidelines aimed at securing a lasting and “just peace.” The key 14<sup>th</sup> point outlined
his concept of a peacekeeping “association of nations” that would guarantee
“political independence and territorial integrity to great and small States
alike.” Wilson intended his plan to underpin a treaty that would establish international collaboration, put an end to territorial
disputes, encourage international commerce and support democracy. It was
the announcement of his Fourteen Points that brought about the
armistice in November 1918.</span></span><span style="font-size: medium;"><span><i><span style="font-style: normal;"> <br /></span></i></span></span></span></p><p class="para" style="margin: 0in;"><span style="font-family: inherit;"><span style="font-size: medium;"><span><i><span style="font-style: normal;">The Paris conference was expected to last a few
weeks but negotiations grew contentious and the meetings took months. Although
Wilson had argued for moderation, the final “Treaty of Versailles” would
severely punish Germany. The country had to accept all blame for the war, pay
staggering reparations and disarm. It would also forfeit valuable border territory, be stripped of its colonies and have its foreign financial
holdings and merchant carrier fleet confiscated. Most of Wilson’s 14 points
were weakened or missing and he agreed to the treaty’s terms only
so that his 14<sup>th</sup> point, the creation of an international
peacekeeping alliance, would remain intact. Germany, infuriated with the Allies
and feeling betrayed by Wilson, reluctantly signed the Treaty of Versailles on
June 28, 1919.</span></i></span></span></span></p><p class="para" style="margin: 0in;"><span style="font-family: inherit;"><span style="font-size: medium;"><span><i><span style="font-style: normal;"> <br /></span></i></span></span></span></p><span style="font-family: inherit;"><span style="font-size: medium;"><span>
</span></span></span><p class="para" style="margin: 0in;"><span style="font-family: inherit;"><span style="font-size: medium;"><span><i><span style="font-style: normal;">Wilson’s proposed League of Nations was founded in
January 1920, but the U.S. would never be a member. The Senate refused to ratify the Treaty of Versailles and so,
with the world’s newest international power determined to mind its own business,
the League of Nations would founder. In October 1933, Adolf Hitler withdrew
Germany from the league. Six years later the German Army invaded Poland and
World War II was on. Wilson had predicted that unless the nations of the world
undertook a collaborative plan to maintain the peace, “within another
generation there will be another world war.” He also foresaw that Germany’s
weapons of World War I would seem “toys as compared with what they would use in
the next war.” <br /></span></i></span></span></span></p><span style="font-family: inherit;"><span style="font-size: medium;"><span>
</span></span></span><p align="center" class="para" style="margin: 0in; text-align: center;"><span style="font-family: inherit;"><span style="font-size: medium;"><span><i><span style="font-style: normal;">~</span></i></span></span></span></p><p><span style="font-family: inherit;"><span style="font-size: medium;"><span><span> </span></span></span></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjl49xfAWlRv51IT80UQUBlQLa-PqV8agmSWC5su8tBZ2PFW1Ac7JvouyJIB7kfKRAsfjEVleT3HMdPX03h7K-VQcHRhLhPN-VpVm2XzIgnnK1U38gDD0A51T4LyAeyYAAGRDEi4ShYqyo/s550/Wilson+Zanuck.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="550" data-original-width="550" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjl49xfAWlRv51IT80UQUBlQLa-PqV8agmSWC5su8tBZ2PFW1Ac7JvouyJIB7kfKRAsfjEVleT3HMdPX03h7K-VQcHRhLhPN-VpVm2XzIgnnK1U38gDD0A51T4LyAeyYAAGRDEi4ShYqyo/s320/Wilson+Zanuck.jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Darryl F. Zanuck<br /></td></tr></tbody></table><div class="separator" style="clear: both; text-align: center;"><span style="font-family: inherit;"><span style="font-size: medium;"><span><span></span></span></span></span></div><p><span style="font-family: inherit;"><span style="font-size: medium;"><span><span>Darryl F. Zanuck, a founding father of 20<sup>th</sup>
Century Fox and <i><span style="font-style: normal;">Hollywood legend</span></i>, would reign as
Fox’s top ranking executive from 1944 until 1956. It was in the early ‘40s, when
he was the studio’s Vice President of Production, that he first became
interested in Woodrow Wilson and began developing an outline for a potential Wilson
biopic. Then the Japanese attacked Pearl Harbor.</span>
</span></span></span></p><p></p><p class="MsoNormal"><span style="font-family: inherit;"><span style="font-size: medium;"><span><span>As a teenager, Zanuck had served in France during
World War I. During World War II he would serve in the Signal Corps in the Aleutians
and North Africa. Like many, he saw the second war as a
consequence of the failed Treaty of Versailles. His wartime
experience and his view of the connection between the two wars would influence
his growing desire to make a Wilson film. Zanuck was also inspired by his
friendship with Wendell Willkie, the Republican presidential candidate of 1940
who, in 1942, became Fox’s chairman of the board. Willkie had penned a best-seller
in 1943, <i>One World</i>, denouncing isolationism and arguing that had
Wilson’s League of Nations come into being as he’d envisioned it, World War II would
never have happened. <br /></span></span></span></span></p><span style="font-family: inherit;"><span style="font-size: medium;"><span>
</span></span></span><p class="MsoNormal"><span style="font-family: inherit;"><span style="font-size: medium;"><span><span>Zanuck first approached the Office of War Information
offering to make a documentary on Wilson and the League of Nations. He was
turned down and returned to Hollywood determined to make a feature length film
instead. <i>Wilson </i>would not be his first biographical picture. Zanuck had
previously and successfully overseen <i>The House of Rothschild</i> (1934), <i>The
Story of Alexander Graham Bell </i>(1939) and <i>Young Mister Lincoln </i>(1939).
<i>Wilson </i>was also to be a “message” film and, although he had done well with films like <i>The Grapes of Wrath </i>(1940), Zanuck knew such films were a gamble at the box office. But Wilson had become a hero for him
and Zanuck badly wanted to convey to the widest possible audience what he saw as the former president’s still
relevant program for peace. <br /></span></span></span></span></p><span style="font-family: inherit;"><span style="font-size: medium;"><span>
</span></span></span><p class="MsoNormal"><span style="font-family: inherit;"><span style="font-size: medium;"><span><span>Screenwriter Lamar Trotti, who scripted
several biographies for Fox, sought historical accuracy for his screenplay primarily
through Ray Stannard Baker, author of a Pulitizer Prize winning
Wilson biography. One of
Wilson’s daughters as well as his widow were also consulted. Trotti’s narrative would mov<i><span style="font-style: normal;">e</span></i>
episodically through Wilson’s<i><span style="font-style: normal;"> high and low points</span></i>, from his time
as President of Princeton University until he left the White House in 1921. Vignet<i><span style="font-style: normal;">tes </span></i>of family life were included to add a p<i><span style="font-style: normal;">ersonal </span></i>dimension
to the story. <br /></span></span></span></span></p><span style="font-family: inherit;"><span style="font-size: medium;"><span>
</span></span></span><p class="MsoNormal"><span style="font-family: inherit;"><span style="font-size: medium;"><span><span>Aware that <i>Wilson</i>
had to offer more than biography and a strong moral/political point of view to be successful, Zanuck and director Henry King would also make of it a Technicolor
spectacular. By the time <i>Wilson </i>was released it would be the most
expensive film ever made, with production and marketing costs totaling $5.2
million dollars - more than even <i>Gone with the Wind</i> had cost. <br /></span></span></span></span></p><span style="font-family: inherit;"><span style="font-size: medium;"><span>
</span></span></span><p class="MsoNormal"><span style="font-family: inherit;"></span></p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left;"><tbody><tr><td style="text-align: center;"><span style="font-family: inherit;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiB29gQsD47AXXNnhEnVgrIFF0cWD6zCdOVIhwomu0RQyfBn2lCAqRcyqHBvmd7kV1QvdyuedDIyY45yPYMZxkRoUOxF_uXv-FRsVRV98DB52xbI3eJqi7RWXBeBT2gQCnKmBpPbp0wC7Q/s912/Wilson+convention.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="650" data-original-width="912" height="285" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiB29gQsD47AXXNnhEnVgrIFF0cWD6zCdOVIhwomu0RQyfBn2lCAqRcyqHBvmd7kV1QvdyuedDIyY45yPYMZxkRoUOxF_uXv-FRsVRV98DB52xbI3eJqi7RWXBeBT2gQCnKmBpPbp0wC7Q/w400-h285/Wilson+convention.jpg" width="400" /></a></span></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-family: inherit;">The 1912 Democratic Convention re-staged at the Los Angeles Shrine Auditorium <br /></span></td></tr></tbody></table><span style="font-family: inherit;"><span style="font-size: medium;"><span><i><span>Wilson</span></i><span> opens with a high-spirited
football game between age-old rivals, Princeton and Yale. There, a jovial
Wilson, then president of Princeton, watches from the sidelines where he will
soon offer wise counsel and inspiration to one of his team’s discouraged
players. Not long after this, Wilson is approached by a political boss from New
Jersey’s Democratic Party and urged to run for Governor in 1910 on a
progressive platform. He does, he wins, and two years later is headed to the
Democratic National Convention in Baltimore. Historian Thomas J. Knock writes
that the extravagant full-scale re-staging of the 1912 Democratic Convention –
with marching bands and speakers and 1,500 conventioneers in seersucker suits
with banners and placards waving - was purely for its entertainment value. According to Knock, “To backdrop other events
in Wilson’s life 126 sets were built, including reproductions of the House of
Representatives Chamber, the East, Blue and Oval Rooms, the Hall of Mirrors of
Versailles, and hundreds of replicas of White House set pieces.” <br /></span></span></span></span><span style="font-family: inherit;"><span style="font-size: medium;"><span>
</span></span></span><p class="MsoNormal"><span style="font-family: inherit;"><span style="font-size: medium;"><span><span>Behind the camera conjuring stunning, color-saturat<i><span style="font-style: normal;">ed </span></i>images for the big screen was Leon Shamroy, one
of Hollywood’s great cinematographers. Shamroy’s use of natural
interior lighting, unusual in 1944, along with the nuanced depth and richness of
three-strip Technicolor made <i>Wilson </i>a literal visual feast. Zanuck was said
to b<i><span style="font-style: normal;">e</span></i> so pleased when he first saw what Shamroy was shooting
that he kissed him – to the applause and cheers of cast and crew. <br /></span></span></span></span></p><span style="font-family: inherit;"><span style="font-size: medium;"><span>
</span></span></span><p class="MsoNormal"><span style="font-family: inherit;"><span style="font-size: medium;"><span><span></span></span></span></span></p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6uolGLjyebsSxwkrqJpxHB1MF6oe8uKpMsHAi0Kl4lcrsjHQ9_ruKRJpsE0zVZJFlFuObOPb1PSJTcTE8qkdRGxVwMuhlaDmwIc1k0YrvjZpnDr9L_y9D52FMiEpvix9IlMtxY71i3Gs/s539/Wilson+Knox.jpg" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="379" data-original-width="539" height="281" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6uolGLjyebsSxwkrqJpxHB1MF6oe8uKpMsHAi0Kl4lcrsjHQ9_ruKRJpsE0zVZJFlFuObOPb1PSJTcTE8qkdRGxVwMuhlaDmwIc1k0YrvjZpnDr9L_y9D52FMiEpvix9IlMtxY71i3Gs/w400-h281/Wilson+Knox.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Alexander Knox as Wilson<br /></td></tr></tbody></table><span style="font-family: inherit;"><span style="font-size: medium;"><span><span><span style="font-size: medium;">In front of the camera was relative unknown
Alexander Knox as Woodrow Wilson. The 37-year-old Canadian
actor was perhaps then best known for his supporting role in <i>The Sea Wolf</i>
(1941). Leading men William Powell and Ronald Colman had been
considered for the role but Zanuck decided that casting a lesser known actor would
be more believable. Knox appeared in 294 scenes with 1,124 lines, delivering 338
speeches, some of them excerpted verbatim from Wilson’s actual speeches. It was
the longest male role in movie history. The sizable cast also included
Geraldine Fitzgerald, Cedric Hardwicke, Thomas Mitchell,
Charles Coburn and Vincent Price, along with scores of credited and uncredited
players and 16,000 extras. It would be an extravagant, ambitious film. </span><br /></span></span></span></span><p></p><span style="font-family: inherit;"><span style="font-size: medium;"><span>
</span></span></span><p class="MsoNormal"><span style="font-family: inherit;"><span style="font-size: medium;"><span><i><span>Wilson </span></i><span>received
a standing ovation when it premiered in New York City on August 1, 1944. Its reviews
were glowing and despite the film’s grueling, speech-heavy 2 ½ hour run-time, audiences
turned out in record numbers; ticket sales would reach 10
million by February 1945. But <i>Wilson</i>’s internationalist message would
also stir political controversy, bringing accusations from some quarters that it was
pro-Roosevelt propaganda. Then the War Department determined that the film contained
prohibit<i><span style="font-style: normal;">ed</span></i> “partisan political content” and
<i>Wilson </i>was banned from being shown to U.S. troops. It took a Congressional amendment to lift the ban.</span></span></span></span></p><span style="font-family: inherit;"><span style="font-size: medium;"><span>
</span></span></span><p class="MsoNormal"><span style="font-family: inherit;"><span style="font-size: medium;"><span><span>Among the top grossing films of 1944, <i>Wilson</i>
was #5. Had it been a less expensive film to make and market it would’ve been
a box office hit but, with its out-size budgets, <i>Wilson</i> failed to recoup its
costs. Hollywood began to whisper, “Zanuck’s folly.” When Academy Awards time
came, <i>Wilson </i>would win five of the 10 Oscars it was nominated for: Best Screenplay,
Best Cinematography, Best Art Direction, Best Sound Recording and Best Editing.
But the film did not win in the categories Zanuck most coveted: Best Picture,
Best Director and Best Actor. Even though he was honored with the prestigious Thalberg award that night, Zanuck was devastated. Three years later when he
came to the podium to accept the Best Picture Oscar for <i>Gentleman’s
Agreement </i>(1947), a much less costly film with a message, Zanuck looked out into the crowd<i><span style="font-style: normal;"> </span></i>and said, “Many thanks, but I should’ve won it for <i>Wilson</i>.”</span>
</span></span></span></p><p class="MsoNormal"><span style="font-family: inherit;"><span style="font-size: medium;"><span><span><i>Wilson </i>would be acknowledged for its role in popularizing internationalism, a doctrine
that still dominates U.S. foreign policy<i>. </i>It would also be credited for its influence in developing widespread support for the United Nations,
founded in 1945. But the film had washed out financially and its moment of historical influence passed. Within a few years <i>Wilson</i> slipped quietly into obscurity. </span></span></span></span></p><p class="MsoNormal"><span style="font-family: inherit;"><span style="font-size: medium;"><span><span></span></span></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: inherit;"><span style="font-size: medium;"><span><span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMWAcMymDmTPwNVFP3f0rta_0Rw8j4TLAtAb0ynNdPg5NZehSyNyH6XBSXCPWm4MY64G1x7kuy22oz6NtI6vV42L4GSQugfpBi9q5O4mjuZEi8zQQSFO-ssvB04QHPk0TbSguidMR9qaU/s1357/Wilson+Collage.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1357" data-original-width="957" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMWAcMymDmTPwNVFP3f0rta_0Rw8j4TLAtAb0ynNdPg5NZehSyNyH6XBSXCPWm4MY64G1x7kuy22oz6NtI6vV42L4GSQugfpBi9q5O4mjuZEi8zQQSFO-ssvB04QHPk0TbSguidMR9qaU/w283-h400/Wilson+Collage.jpg" width="283" /></a></span></span></span></span></div><span style="font-family: inherit;"><span style="font-size: medium;"><span><span> </span></span></span></span><span style="font-family: inherit;"><span style="font-size: medium;"><span><span></span></span></span></span><p></p><p align="center" class="MsoNormal" style="text-align: center;"></p><span style="font-family: inherit;"><span style="font-size: medium;"><span>
</span></span></span><p class="MsoNormal"><span style="font-family: inherit;"><span style="font-size: medium;"><span><span><span><i>W</i></span></span><i><span>ilson</span></i><span> occasionally surfaces on TCM and is
available for rental through Amazon Prime Video.</span>
</span></span></span></p><p class="para" style="margin: 0in;"><span style="font-family: inherit;"><span style="font-size: medium;"><span><span> </span><i><u><span style="font-style: normal;">Sources:</span></u></i></span></span></span></p><span style="font-family: inherit;"><span style="font-size: medium;"><span>
</span></span></span><p class="para" style="margin: 0in;"><span style="font-family: inherit;"><span style="font-size: medium;"><span><i>History with Lightning: The Forgotten Film Wilson,</i><i><span style="font-style: normal;"> by Thomas J. Knock, Princeton University, </span></i><i>American
Quarterly, </i><i><span style="font-style: normal;">Vol. 28, No. 5 (Winter 1976), published by the
Johns Hopkins University Press (article accessible at jstor)</span> </i></span></span></span></p><p class="para" style="margin: 0in;"><span style="font-family: inherit;"><span style="font-size: medium;"><span><i>Paris 1919: Six Months That Changed the World,</i><i><span style="font-style: normal;"> by Margaret MacMillan, Random House, 2001 </span></i></span></span></span></p><span style="font-family: inherit;"><span style="font-size: medium;"><span>
</span></span></span><p class="para" style="margin: 0in;"><span style="font-family: inherit;"><span style="font-size: medium;"><span><i>American Experience, The Presidents: Woodrow Wilson</i><i><span style="font-style: normal;">, 2002 PBS documentary (available on Kanopy)</span></i></span></span></span></p><span style="font-family: inherit;"><span style="font-size: medium;"><span>
</span></span></span>The Lady Evehttp://www.blogger.com/profile/11963115499930520653noreply@blogger.com1tag:blogger.com,1999:blog-8509825018139758536.post-72357973580360835022020-12-04T12:24:00.047-08:002021-09-19T15:48:36.564-07:00Marcel Dalio: What a (French) Character!<p><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman";"><i></i></span></p><div class="separator" style="clear: both; text-align: center;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman";"><i><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhvtyAU2v6vE4bwdONfFfxhH7tRHeZppc_WnFeVofW1Q1NekK875mvbif1aMdMHkFVI5Za7KjlGshcBVL6ocpXcd_QaftRX5TarU1QJH9YpiIKSuX-0jlgl0gCT9SBTkdAJxbUEokPzJa4/s1078/Dalio.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="788" data-original-width="1078" height="372" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhvtyAU2v6vE4bwdONfFfxhH7tRHeZppc_WnFeVofW1Q1NekK875mvbif1aMdMHkFVI5Za7KjlGshcBVL6ocpXcd_QaftRX5TarU1QJH9YpiIKSuX-0jlgl0gCT9SBTkdAJxbUEokPzJa4/w509-h372/Dalio.jpg" width="509" /></a></i></span></div><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman";"></span><p style="text-align: center;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman";"></span></p><p style="text-align: center;"></p><p style="text-align: center;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman";"><b>50 YEARS OF CHARACTER ROLES IN AMERICAN AND FRENCH CLASSICS</b><br /></span></p><p><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman";">I was watching
Josef von Sternberg’s flamboyantly decadent noir <i>The Shanghai Gesture</i>
(1941) a while ago. Taking in the dense and elaborate décor, sinister
atmosphere and louche characters the maestro whipped together for this wickedly
twisted cinematic excursion, I marveled that the censors had left so much
intact. The setting is a palatial Shanghai gaming house, a den of iniquity if
there ever was one, with vice of every kind lurking in its shadowy nooks.<span></span></span></p><a name='more'></a><p></p><p class="MsoNormal"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman";">As I watched, I
noticed a croupier at the center of the casino’s terraced gambling pit. For just a
moment I went blank and thought I must be watching another film. A completely
different film. One of the most celebrated of Hollywood films and possibly the
greatest, <i>Casablanca</i> (1942), for this man was surely Emil, the croupier
at Rick’s in French Morocco.</span></p><p class="MsoNormal"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman";"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman";"><!--[if gte mso 9]><xml>
</style>
<![endif]--></span><iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/HMIyDf3gBoY" width="560"></iframe>
</span></p><p class="MsoNormal"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman";">But this croupier
was not Emil. This man was credited as “The Master of the Spinning Wheel” at
Madame Gin-Sling’s Shanghai gambling den. Maybe so, but it was plain that both croupiers
were portrayed by one and the same actor. <br /></span></p>
<p class="MsoNormal"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman";"></span></p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhvgHBc2-RSJukhqxVu6lXRhnXzxQ0NOZD0YDVm0fpaE2H2PlVkBKCg6pphyphenhyphen7-XFBCdipVEbg0UcQX8um_SmQW7FISxLn3YU9jswfcPuz30-6tfQGOW1FRNcRaQsi_1-Gf2qV4UVDEdMPY/s800/Marcel+Grand.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="777" data-original-width="800" height="311" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhvgHBc2-RSJukhqxVu6lXRhnXzxQ0NOZD0YDVm0fpaE2H2PlVkBKCg6pphyphenhyphen7-XFBCdipVEbg0UcQX8um_SmQW7FISxLn3YU9jswfcPuz30-6tfQGOW1FRNcRaQsi_1-Gf2qV4UVDEdMPY/w320-h311/Marcel+Grand.jpg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Jean Gabin and Dalio in Renoir's <i>Grand Illusion </i>(1937)<br /></td></tr></tbody></table><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman";">The actor, Marcel
Dalio, was a French émigré who still spoke little English when he made <i>The
Shanghai Gesture </i>in 1941. A recent arrival in the U.S., he brought with him from France an impressive list of film credits</span><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman";"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman";">. </span>He was known as “Dalio” in the
French cinema and had become one of its most visible character
actors. He’d had his first big success in the role of the informer in Julien
Duvivier’s monumentally influential <i>Pepe le Moko </i>(1937) alongside Jean
Gabin, who became a legend in the title role. A year later, Hollywood would remake
the film as <i>Algiers </i>with Charles Boyer and Hedy Lamarr. For Dalio, major roles in Jean Renoir’s two greatest films, <i>Grand Illusion </i>(1937)
and <i>The Rules of the Game </i>(1939), would follow.<br /></span><p></p>
<p class="MsoNormal"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman";">In <i>Grand
Illusion, </i>Renoir’s anti-war masterpiece set during World War I,<i> </i>Dalio
portrayed Rosenthal, a prisoner of war from a wealthy French Jewish banking
family. An expansive character, Rosenthal was proud of his family and its
accomplishments and generous with his fellow prisoners. <i>The Rules of the Game</i>,
Renoir’s other equally venerated classic, is a tragicomedy that offers an ultimately chilly take on the “rules” of society. As </span><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">Robert de la Chesnaye, Dalio portrayed an urbane French aristocrat with a
penchant for mechanical playthings. In one scene Dalio’s character shows off
his latest joy, a glittering calliope with, literally, lots of bells and
whistles. As Roger Ebert retells it, Renoir needed a specific facial expression, in close-up,
from the actor in this scene. It had to imply pride along with slight embarrassment for
feeling so proud, and delight with a bit of shyness for revealing such delight.
Renoir would say that what he got from Dalio may have been the best shot he
ever filmed. </span><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman";"> </span></p><p class="MsoNormal"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman";"></span></p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjB75ydYtXCoAof07llf98I8W6HTOKw0Qe2bb91Qttlh1xIQA2qNEiB-lINgcYB0PLxFRMrEA0j4TR420rETI9uixTXlZeX9nu1BP3Z0OynwroxRqJT_3TyDizZ_DOZTSIPPomlR5K5koY/s480/Marcel+Dalio+Rules+calliope.jpg" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="360" data-original-width="480" height="269" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjB75ydYtXCoAof07llf98I8W6HTOKw0Qe2bb91Qttlh1xIQA2qNEiB-lINgcYB0PLxFRMrEA0j4TR420rETI9uixTXlZeX9nu1BP3Z0OynwroxRqJT_3TyDizZ_DOZTSIPPomlR5K5koY/w358-h269/Marcel+Dalio+Rules+calliope.jpg" width="358" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Dalio with calliope in Renoir's <i>The Rules of the Game </i>(1939)<br /></td></tr></tbody></table><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman";">By the time he
left France Dalio had more than 25 films to his credit and had worked with a number
respected and successful filmmakers. Along with Renoir and Duvivier, he had also
appeared in the films of Robert Bresson, Pierre Chenal, Abel Gance, Sacha Guitry
and Robert Siodmak. </span><p></p><p class="MsoNormal" style="text-align: left;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">When the German Army occupied Paris in June of 1940, Dalio
and his young wife, actress Madeleine Lebeau, had just left the city and were on
their way across southern Europe, then on to South America and beyond. In
Mexico it was discovered that their visas were forgeries, but they were eventually able to obtain temporary Canadian passports. From there the couple entered the United States.<span style="mso-spacerun: yes;"> </span></span><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman";">With the help of friends in the industry who
had preceded them to the U.S. – </span><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">among them Charles Boyer, Rene Clair, Jean
Renoir and Julien Duvivier - </span><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman";">they would finally come to Hollywood.</span></p><p align="center" class="MsoNormal" style="text-align: center;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman";">~</span></p>
<p class="MsoNormal"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">Marcel Dalio was born Israel Moshe Blauschild, of Romanian Jewish
descent, in Paris on July 17, 1900. He trained as an actor at the Paris
Conservatoire and in 1920 started performing in the theater. His film career began in the early '30s.<span style="mso-spacerun: yes;"> </span>About choosing a stage name, Dalio would
later recall:</span></p>
<p class="MsoNormal"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">“Marcel de Blancheville or Marc de Beauchili? <span style="mso-spacerun: yes;"> </span>On the eve of leaving for the first time on
tour with a company of actors I had to choose a name for myself. Something
properly French, also a bit grandiloquent, and naturally aristocratic. Because
there was no question of appearing on the poster under my real name: Israël
Mosche Blauschild! It was enough to make the brave Swiss for whom we were to
perform flee! ‘Blancheville or Beauchili? My decision was made: neither one nor
the other...I had my idea. I was still dazzled by the memory of the handsome
prince Danilo in <i>The Merry Widow</i> and a name formed itself in my head:
Dalino...Dalo...DALIO !!! I was baptized.”</span></p>
<p class="MsoNormal"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">Dalio’s film career reached a high point with the release of <i>The
Rules of the Game </i>in July 1939, but within two months World War II would
explode across Europe. He made two more films before his last minute departure with his wife. Although Dalio was no longer
in France, his films still were. Apparently his appearance – and perhaps the fact
that he had successfully evaded the Nazis – offended </span><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman";">the new collaborationist Vichy government because publicity stills of him were chosen for use on posters to be displayed all over Paris. The intention was to illustrate what "a typical Jew" looked like so citizens could more easily identify and report suspected Jews to the authorities. In addition, in </span><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">1944 when his 1938 film <i>Entrée des
artistes</i> was to be re-released,<i> </i>all of Dalio’s scenes were re-shot
with a non-Jewish actor.</span></p>
<p class="MsoNormal"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"></span></p>
<p align="center" class="MsoNormal" style="text-align: center;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">~</span></p>
<p class="MsoNormal"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman";"></span></p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgT3bKWmG4WuwmKsJaRH74dlf178HRFTwxR90KgVR58OR5-asKT6EAh8c8Xx56aKwJ6NwtTIPwm5buov6FQd0I7o1_xjT0Cc91lkAPesaLhLhhospZkoVg3lTawQF6Ba8t1lGy-emp_vwc/s1280/Dalio+Have+Have+Not.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="930" data-original-width="1280" height="244" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgT3bKWmG4WuwmKsJaRH74dlf178HRFTwxR90KgVR58OR5-asKT6EAh8c8Xx56aKwJ6NwtTIPwm5buov6FQd0I7o1_xjT0Cc91lkAPesaLhLhhospZkoVg3lTawQF6Ba8t1lGy-emp_vwc/w337-h244/Dalio+Have+Have+Not.jpg" width="337" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Dalio with Bogie & Bacall in <i>To Have and Have Not </i>(1944)<br /></td></tr></tbody></table><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman";">Dalio’s first
Hollywood film was a Paramount production, <i>One Night in Lisbon</i> (1941), a
wartime tale set in London and Portugal, starring Fred MacMurray and Madeleine
Carroll. Dalio had the role of a concierge. His third and final film of 1941
was <i>The Shanghai Gesture</i>. 1942 would bring four small roles, the last of
which was Emil in <i>Casablanca</i>. There are reports that Dalio was considered early on
for the role of Capt. Renault but was eliminated because of his still heavy
French accent and limited grasp of English. Claude Rains would be
cast as Louis Renault and deliver an unforgettable performance that brought an Oscar nomination. <br /></span><p></p>
<p class="MsoNormal"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman";">Both Dalio and
his wife were cast in <i>Casablanca</i>, with Madeleine in the
memorable part of Yvonne, Rick’s sometimes unruly ex-girlfriend. By the time
the picture was in production the couple was about to divorce, but they would
both appear in the French Resistance drama <i>Paris After Dark</i> the
following year. Among Dalio’s other wartime Hollywood film roles were the part
of a French policeman in <i>The Song of Bernadette</i> (1943), French Premier
Georges Clemenceau in the Oscar-winning biopic <i>Wilson </i>(1944) and later
the same year, Gerard/aka Frenchy, owner of the Martinique hotel where <i>To
Have and Have Not </i>is set. Though his filmography in France had included a spectrum
of characters from the treacherous to the congenial, once in Hollywood Dalio
quickly – and not very surprisingly for the time and the world situation -
became typed. It’s fair to say that the nickname of his character in <i>To Have
and Have Not</i> – “Frenchy” – could generally apply to many of his roles in
American films, even those with names like “Luigi” and “Vladimir.”</span></p>
<p class="MsoNormal"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman";">When World War II
ended, Dalio returned to Paris and the French cinema for a while. In the 1950s he worked mostly in Hollywood, first appearing
in the Danny Kaye vehicle <i>On the Riviera </i>(1951), a musical comedy. In <i>The
Snows of Kilimanjaro </i>(1952), Dalio portrayed Emile, owner of Emile’s
nightclub in Paris (Did adding an “e” to Emil help him advance to a position
comparable to Rick’s in <i>Casablanca</i>?). It was an adaptation of a Hemingway story
starring Gregory Peck, Susan Hayward and Ava Gardner. Dalio was cast in the bit
part of an exasperated Parisian magistrate in <i>Gentlemen Prefer Blondes </i>(1953),
the runaway hit that made a star of Marilyn Monroe. That same year he played fellow cooking class student Baron St. Fontanel next to Audrey Hepburn in Billy Wilder’s <i>Sabrina</i>. </span></p><p class="MsoNormal"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman";"><iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/FR7KlvISE2w" width="560"></iframe> </span></p><p class="MsoNormal"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman";">Dalio would also have small roles in the 1957 version of <i>The
Sun Also Rises</i>, with its all-star cast top-lined by Ava Gardner, Errol
Flynn and Tyrone Power, and in 1959's <i>Pillow Talk</i>,
the first of the classic Doris Day/Rock Hudson romcoms. From the mid- to late-‘50s he
also worked regularly on American television in classic
series like <i>Alfred Hitchcock Presents,
Peter Gunn, Maverick, One Step Beyond, Playhouse 90, Death Valley Days, 77 Sunset
Strip</i>, <i>Adventures in Paradise</i> and <i>Ben Casey.</i> <br /></span></p>
<p class="MsoNormal"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">The 1960s brought more small parts in American films like <i>The Devil at 4 O’Clock </i>(1961) an
adventure/drama set in Hawaii starring Frank Sinatra and Spencer Tracy; <i>The
List of Adrian Messenger </i>(1963) a mystery/thriller packed with top leading
men of the time including Kirk Douglas, Burt Lancaster, Robert Mitchum and
Frank Sinatra; the 1965 comedy <i>Lady L</i> with Sophia Loren, Paul
Newman, David Niven and Dalio heading the cast in that order; and William
Wyler’s comedy caper <i>How to Steal a Million </i>(1966) starring Audrey
Hepburn and Peter O’Toole. Mike Nichols’ <i>Catch-22 </i>(1970) gave Dalio a sardonic few moments as a worldly wise and very “Old Man” opposite Art Garfunkle’s
innocent young soldier. <br /></span></p><p class="MsoNormal"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman";"><iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/j-OcaLECz1k" width="560"></iframe> <span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"> </span></span></p><p class="MsoNormal"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman";"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">Dalio's final role in the U.S. was as a French fight
promoter in <i>The Great White Hope</i> (1970) starring James Earl Jones, a
film based on the life of boxer Jack Johnson. The remainder of Dalio's career would
take place in Europe.</span> <br /></span></p><p class="MsoNormal"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman";">Marcel Dalio’s <a href="https://www.imdb.com/name/nm0197950/">filmography on IMDB</a>
contains 186 entries. Reflected on this list are featured
roles in masterpieces of the French cinema as well as minor roles in many enduring
Hollywood classics.<span style="mso-spacerun: yes;"> </span>Whether the part was
large or small, Dalio brought distinction to his role. He was versatile. If called for, he brought humanity and warmth to the part. If
cunning was required, he could play that just as believably. He was a responsive and expressive actor blessed with versatility and credibility, the hallmarks - along with a good dose of charisma - of a great character actor.</span><br /></p><p></p>
<p class="MsoNormal"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman";">His passing came in 1983 at age 83. Dalio's final onscreen performances were on French television, three TV-movies that aired in 1982. His film career
in France had been disrupted for years because of the war. In Hollywood he was known for lesser or even bit parts, but Dalio managed to stay onscreen
continually, whether in Europe or in the U.S., for more than 50 years. In his later career he had the serendipity to be cast in a leading role in a comedy that turned out to be a big hit in France. </span><i><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">The Mad Adventures of Rabbi Jacob </span></i><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman";">(1973) was
a wild romp about shifting identities and the return of a rabbi long absent from the Parisian neighborhood that loves him. Dalio portrayed the (real) rabbi.</span></p><p class="MsoNormal"><u><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman";">Postscript</span></u></p><p style="text-align: left;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman";">Marcel Dalio’s ex-wife,
Madeleine Lebeau, was born in 1923 and returned to France after the war. She
continued to make films in Europe, perhaps most notably in Fellini’s <i>8 ½</i>
in 1963. She was the last surviving cast member of <i>Casablanca </i>for several years until her passing in 2016 at age 92.</span></p><p style="text-align: center;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman";">~<br /></span>
</p><p><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman";"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman";"><i>This is my entry for the annual <b>What a Character!</b> blogathon hosted by Paula at Paula's Cinema Club,</i> <i>Aurora of Once Upon a Screen and Kellee at Outspoken & Freckled</i>. <a href="https://paulascinemaclub.com/2020/12/05/what-a-character-ninth-annual-blogathon/#more-21500">Click here</a> <i>for links to all participating blogs.</i></span></span>
</p><p class="MsoNormal"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman";"><span style="mso-spacerun: yes;"></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman";"><span style="mso-spacerun: yes;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXOj7_DwnQzZfJh5dN0w3bF_5TUo_luJJm5OSk_D3mso9HjzJnP6noU-e88eIjjM0sWp2ma7oBtddugNpaPDjrNrl_0wFeA9cWPYKBOr2K6Gv8yxhS7GJDc2U85gylhzAvMkpdmUlCti4/s1350/what-a-character-2020-1.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1350" data-original-width="1080" height="495" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXOj7_DwnQzZfJh5dN0w3bF_5TUo_luJJm5OSk_D3mso9HjzJnP6noU-e88eIjjM0sWp2ma7oBtddugNpaPDjrNrl_0wFeA9cWPYKBOr2K6Gv8yxhS7GJDc2U85gylhzAvMkpdmUlCti4/w396-h495/what-a-character-2020-1.png" width="396" /></a></span></span></div><p><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman";"> </span></p><p><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman";"><u>References</u>:</span></p><p><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman";"><i>French Cinema in Close-Up</i> by Michael Abecassis and Marcelline Block (Phaeton Publishing, 2015) </span></p><p><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman";"><i>I, Dalio</i>, a documentary short film by Mark Rappaport (2015) <br /></span></p><p><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman";"><i>The Rules of the Game </i>film review by Roger Ebert, RogerEbert.com, February 29, 2004</span></p><p><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman";"><br /></span></p><p></p>
The Lady Evehttp://www.blogger.com/profile/11963115499930520653noreply@blogger.com18tag:blogger.com,1999:blog-8509825018139758536.post-13922876993004138692020-11-23T08:00:01.100-08:002021-05-18T13:09:20.831-07:00The Gene Tierney Centenary, Pt. 2: "...carried by the winds and the tides"<p style="text-align: center;"> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdz3kioQy69y1k6QcSsgl-_E6GfT4lDLTdOK4_JaJb_4P9D_1-sJ9cZSMwkiOAqxOFRnLnc_sPWZaZwTUgpCCiHd8ubW82s-grWdOWKd1pH3Jg1TW-ckSeFDa6afj1d5mmuMeBexh2t0E/s750/Gene+headline.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="750" data-original-width="743" height="513" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdz3kioQy69y1k6QcSsgl-_E6GfT4lDLTdOK4_JaJb_4P9D_1-sJ9cZSMwkiOAqxOFRnLnc_sPWZaZwTUgpCCiHd8ubW82s-grWdOWKd1pH3Jg1TW-ckSeFDa6afj1d5mmuMeBexh2t0E/w510-h513/Gene+headline.jpg" width="510" /></a></div><p></p><div class="separator" style="clear: both; text-align: center;"><i>Celebrating the 100th anniversary of Gene Tierney's birth on November 19, 1920</i></div><div class="separator" style="clear: both; text-align: center;"><i> </i></div><div class="separator" style="clear: both; text-align: left;"><!--[if gte mso 9]><xml>
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<p class="MsoNormal"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><a href="http://www.ladyevesreellife.com/2020/11/the-gene-tierney-centenary-pt-1-i-felt.html"><b>Link to Pt. 1</b></a> <br /></span></p><p class="MsoNormal"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">Gene Tierney would admit that before she married Paramount costume designer Oleg Cassini, “I dated dozens of
young men, had fun with all, made commitments to none.” This crush of eligible fellows ran the gamut from Howard
Hughes to Desi Arnaz, but when she met Cassini at the end of 1940 she was instantly
smitten. By their third date the couple was talking marriage. Though her parents
and the studio were united in opposition, the couple broke the impasse when they eloped to Las Vegas in June 1941.</span></p><a name='more'></a><p></p>
<p class="MsoNormal"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"></span></p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_Uu4wu2tWokjuo3MPiGZPgTPPtug2OefZ41RBWLzIx8ZFKT2OUe6HuoPUyU4v18P0dWSGV4gtYvaaiezOL53P9T2kctSr6h7rtGe5RYvd4jNjX3Y-y-yKxGqHp183_iNvuNxee-kCEmY/s906/Gene+and+Oleg.jpg" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="893" data-original-width="906" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_Uu4wu2tWokjuo3MPiGZPgTPPtug2OefZ41RBWLzIx8ZFKT2OUe6HuoPUyU4v18P0dWSGV4gtYvaaiezOL53P9T2kctSr6h7rtGe5RYvd4jNjX3Y-y-yKxGqHp183_iNvuNxee-kCEmY/s320/Gene+and+Oleg.jpg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Gene marries Oleg Cassini on June 1, 1941<br /></td></tr></tbody></table><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">Oleg Cassini was born in Paris in 1913, a descendant of Russian and Italian aristocrats. Raised in
Florence, he first worked at his mother’s salon there, later opened his own shop in Rome, then moved on to Paris and the
house of Patou. The family immigrated to the U.S. in 1936, with Oleg working at various design houses in New York, including
his own, before making his way to Hollywood.</span><p></p>
<p class="MsoNormal"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">Gene’s decision to elope was driven by passion - and something more.
Not long before she and Cassini rushed to Las Vegas she had come face to face with some ugly truths about her father. All her life Gene had looked up
to the man. She sought his advice and gladly accepted his management of her
career. But now Howard Tierney threatened to have his daughter committed if she went ahead with her marriage plans. While this threat was still
looming, she discovered that her father was carrying on
a flagrant love affair with a friend of her mother's. Then, once Gene and Cassini were married,<span style="mso-spacerun: yes;"> </span>Mr. Tierney
threatened to have the marriage annulled. Gene soon took steps to dissolve the family trust into which her income flowed. She planned to deposit the money in her own account. Unfortunately, nothing came of this for, as Gene would find out, Howard Tierney had, without her knowledge or consent, spent every cent on his own business interests. Her estrangement from her father only escalated when he divorced her mother to marry his mistress and begin another family. </span></p>
<p class="MsoNormal"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"></span></p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEir2t_pBhbV5-3_RvomzHntr-hl2XQjfCl7uxy4YaGvFkCT-JE-lDvInacrVv0vvqvljRh9tyBEYSwBzs8Z67LJlO7fplwxzgYvNkcn0_CxiTZE1zWA3yiy9M7knVA01LPJyGIP9T1G_9Q/s400/Gene+and+Ty.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="400" data-original-width="320" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEir2t_pBhbV5-3_RvomzHntr-hl2XQjfCl7uxy4YaGvFkCT-JE-lDvInacrVv0vvqvljRh9tyBEYSwBzs8Z67LJlO7fplwxzgYvNkcn0_CxiTZE1zWA3yiy9M7knVA01LPJyGIP9T1G_9Q/s320/Gene+and+Ty.jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>Son of Fury </i>(1942), Gene and Ty Power<br /></td></tr></tbody></table><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">Though her personal life had become chaotic, Gene’s
career was moving along at a steady pace. She began work on <i>Son of
Fury: The Story of Benjamin Blake</i> (1942) once <i>The Shanghai Gesture</i>
wrapped. This was Gene’s first role opposite Fox’s top leading man, Tyrone
Power. She would portray Eve, a native girl Power’s Benjamin Blake encounters
in Polynesia and to whom he returns once his name has been cleared and his
birthright restored back in England. Fox promoted the picture with a marketing campaign that made the most of its two beautiful stars.</span><p></p>
<p class="MsoNormal"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">On November 10, 1941 <i>Life </i>magazine featured Gene on its cover. Nine days later she celebrated her </span><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">21<sup>st</sup> birthday</span><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">. A few weeks after that the Japanese attacked Pearl Harbor, drawing the U.S. into World War II. Cassini soon enlisted and left for camp in Kansas. Then <i>Son of Fury</i> was released in late January 1942. It was a frenetic time, with Gene continuing to make film after film. Next would come a romantic comed<i>y</i> with Henry Fonda, then two World War II pictures. In the meantime, she began making appearances at war bond rallies.</span><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"> </span></p><p class="MsoNormal"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"></span></p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjyYrTjp-7lSP6mdLtnKzFQDvVK2u4uakNCda-m7UXhSJPUmqbBq5iV0nJKhM6i8WRwnuu0bKJDvNu88FEnUKnJdGyvZQAiTpDxcGPK_a295hWCByWeGSR135VzdDGSd8wGJWBOvUcp8qk/s500/Gene+bond+drive.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="500" data-original-width="395" height="334" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjyYrTjp-7lSP6mdLtnKzFQDvVK2u4uakNCda-m7UXhSJPUmqbBq5iV0nJKhM6i8WRwnuu0bKJDvNu88FEnUKnJdGyvZQAiTpDxcGPK_a295hWCByWeGSR135VzdDGSd8wGJWBOvUcp8qk/w264-h334/Gene+bond+drive.jpg" width="264" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Supporting the war effort<br /></td></tr></tbody></table><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">While she had already worked with some fine directors – the likes of Lang,
Ford, von Sternberg and Wellman – 1943 would bring the chance to work with a
filmmaker who had perfected, if not invented, romantic comedy, Ernst Lubitsch. In
<i>Heaven Can Wait</i>, his gentle period comedy, Gene portrays the tolerant
wife of an incorrigible roué (Don Ameche) whose story is told as his life comes to an end and he reviews his past with the devil. It was her best film to date. Released in August 1943, <i>Heaven Can Wait</i> went on to be nominated for three Oscars including Best Picture and Best Director. And it would be the only film Gene would make in 1943. The reason
for her absence from the screen was to be a happy one: she was pregnant with
her first child. However, one night early in her pregnancy, when she made an appearance at the Hollywood Canteen, Gene contracted the German measles. Although her doctor reassured her when she came down
with the virus, her daughter, Daria, was born prematurely with profound mental
and physical handicaps caused by her mother’s illness. Bizarrely, a year later at a tennis party Gene would learn how she contracted the virus. There, a woman approached her for an autograph. She told Gene that nearly two years earlier, when she was in the Marine Corps, she was under quarantine with the German measles. But she had gone out to the Hollywood Canteen one night anyway, the night Gene appeared at the Hollywood Canteen. She had to go, she said, because Gene was her favorite
actress. Gene turned and walked away. She would later write, “After that I didn’t care if I was ever again
anyone’s favorite actress.” Ironically, most of her best roles – and even an
Oscar nomination – lay just ahead.</span></div><div class="separator" style="clear: both; text-align: left;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><br /></span></div><div class="separator" style="clear: both; text-align: left;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNbWkZ5cNiJYgn_4VSF1nk-o48cDcgSfy_5vr3EfDjT-4DjzCIu2rs90EN89BOkvv_Y5w_gJnuh2ahyphenhyphenRgn6aUkjFSntjwnyzw_Bj13RCrNCzWWYbBc8LEvtpAliUhuAqfWoe-joxOKPsk/s320/Gene+Laura+portrait.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="320" data-original-width="273" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNbWkZ5cNiJYgn_4VSF1nk-o48cDcgSfy_5vr3EfDjT-4DjzCIu2rs90EN89BOkvv_Y5w_gJnuh2ahyphenhyphenRgn6aUkjFSntjwnyzw_Bj13RCrNCzWWYbBc8LEvtpAliUhuAqfWoe-joxOKPsk/s0/Gene+Laura+portrait.jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Portrait of <i>Laura</i>, a photo softened with brush strokes<br /></td></tr></tbody></table>Gene's next film, the film that made her a star, had a rocky route to the big screen. The production of <i>Laura</i> (1944), one of the greatest of stylish noirs, started and stopped twice under its original director Rouben Mamoulian. When he was replaced by the film's producer, Otto Preminger, the production stopped began again from scratch . Jennifer Jones and Hedy Lamarr had turned down the role of Laura before Gene was given the part. John Hodiak had been considered before Dana Andrews was chosen. Zanuck had favored Laird Cregar for the role of Waldo Lydecker, the film's pivotal character, before Clifton Webb was cast.<i> </i>Under Preminger, all elements finally came together and <i>Laura</i>, with the additional benefit of <b><a href="https://vocal.media/beat/david-raksin-s-music-for-laura-1944">David Raksin's lovely score</a></b>, emerged a classic. Nominated for five Oscars, it won for its cinematography, and is now ranked #4 on the AFI's list of the 10 all-time greatest mystery films. Gene was reluctant to take credit for <i>Laura</i>'s success, judging her own performance as not "much more than adequate." She felt that what viewers were actually responding to was the "dreamlike" aspect inherent in the character. But Oleg Cassini would recall that <i>Laura</i> began filming only months after Daria's birth, when he and Gene were still overwhelmed and grieving. He believed her reaction to this personal tragedy informed her performance, "There was a ghostly quality, an evanescence, to both Laura and Gene." According to her husband, his wife's remoteness never completely subsided.<br /></span></div><div class="separator" style="clear: both; text-align: left;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><br /></span></div><div class="separator" style="clear: both; text-align: left;"><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8pSYfxhxPy5Eu8UK2U2QHjJx67D_ArYcoH0KDnTpECLxAaHHBoNH3kxooC2AIeYE_O0l2QdYiIWxw6YnsmsIAGmF0Qpn-o1vTCPdW7Ni1vznaTWj1t9CrJIqci0LyG8boR0g6Nzbtvjs/s630/Gene+Leave+Her.JPG" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="470" data-original-width="630" height="260" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8pSYfxhxPy5Eu8UK2U2QHjJx67D_ArYcoH0KDnTpECLxAaHHBoNH3kxooC2AIeYE_O0l2QdYiIWxw6YnsmsIAGmF0Qpn-o1vTCPdW7Ni1vznaTWj1t9CrJIqci0LyG8boR0g6Nzbtvjs/w348-h260/Gene+Leave+Her.JPG" width="348" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Gene as "a marvelous medusa" in <i>Leave Her to Heaven</i><br /></td></tr></tbody></table><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><i>Laura</i>'s commercial and critical success gave Gene the breakthrough she needed to firmly establish herself as a leading lady. Her next outing was a World War II drama co-starring with John Hodiak: <i>A Bell for Adano</i> (1945), based on John Hersey's 1944 Pulitzer Prize-winning novel. Bosley Crowther of the NY Times called it a near-perfect "picturization of Mr. Hersey's book" and credited Gene with a "sensitive" performance. But it would be the next film that would reaffirm her arrival at the pinnacle of her career. With <i>Leave Her to Heaven </i>(1945), directed by John M. Stahl, Gene proved she could carry an entire picture - a ravishing three-strip-Technicolor noir, at that - nearly on her own. Cornell Wilde, Jeanne Crain, Vincent Price, Darryl Hickman and the rest of the cast provide able support. And Leon Shamroy's saturated, hyper-real, Oscar-winning color images of sprawling vistas and eye-popping interiors intensify the impact of this mesmerizing cinematic odyssey. However, as <b><a href="https://www.criterion.com/current/author/247-michael-koresky">Michael Koresky</a></b> points out, "it's all exquisite, but perhaps nothing compares to the otherworldly visual effect that is Gene Tierney" as a "seamlessly beautiful predator." Her chilling portrayal of a perfect beauty with a carnivorous heart and a Machiavellian mind brought her a Best Actress Oscar nomination. The film received a total of four Oscar nominations including Shamroy's well-deserved win. Martin Scorsese has praised <i>Leave Her to Heaven</i>, listing it among his favorite films. Of Gene Tierney he has said that she is one of the most underrated actresses of her era. Observing that her beauty is a kind of mask, he notices her "fragility as an actress." Aware of her personal struggles as well as her talent, he has said, "You watch her on camera throughout her career, and you can see a genuine, very moving internal drama being played out."</span></div><div class="separator" style="clear: both; text-align: left;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"> </span></div><div class="separator" style="clear: both; text-align: left;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">Joseph L. Mankiewicz's popular <i>Rebecca</i>-esque gothic mystery <i>Dragonwyck</i> followed in 1946. Then a prestige picture, <i>The Razor's Edge</i>, directed by Edmund Goulding and heralding Tyrone Power's return from World War II service. It was adapted from a Somerset Maugham novel about a disillusioned young man (Power) who chooses the road less taken and loses his fiancee (Gene) to another man because of it. The film also featured Anne Baxter, who would win the Supporting Actress Oscar, Clifton Webb, John Payne and Herbert Marshall. The next year, 1947, brought Mankiewicz's charming <i>The Ghost and Mrs. Muir</i>, with Gene opposite Brit leading man Rex Harrison. It is an ethereal tale of a widow who finds more pleasure in the company of the ghost of a sea captain who haunts her home than she does with the men she knows in earthly life. Although it was not Gene's final film of the decade, it would be her last true classic of the 1940s. </span></div><div class="separator" style="clear: both; text-align: left;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"> </span></div><div class="separator" style="clear: both; text-align: left;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjKg-BScxzKx8mTvg5SkxhxWy4QYrC_ImvzrAI17WZARbyzjtBPyKNpvLQIg3zveXSG3p4eRZ2OwkdD1P-I3Z0Y6lFYAn9ukpiCHOQahtb8hPNZ4MMZ6qyAWr5UTynaoD4Ppi7ch1JH5DY/s400/Gene+and+Rex.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="400" data-original-width="332" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjKg-BScxzKx8mTvg5SkxhxWy4QYrC_ImvzrAI17WZARbyzjtBPyKNpvLQIg3zveXSG3p4eRZ2OwkdD1P-I3Z0Y6lFYAn9ukpiCHOQahtb8hPNZ4MMZ6qyAWr5UTynaoD4Ppi7ch1JH5DY/s320/Gene+and+Rex.jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Gene Tierney and Rex Harrison<br /></td></tr></tbody></table>She had made seven solid films in a row over four years, beginning with <i>Heaven Can Wait</i>, and was now a reliably bankable Hollywood star. But her personal life was collapsing. The decision to place Daria in an institution had been made with extreme difficulty. Oleg's career as a Hollywood designer had been derailed when he married Gene and his screen credits dwindled, almost all of them amounting to "Costumes: Miss Tierney." There were break-ups and reconciliations. With break-ups came romances, in Gene's case a very serious relationship with John F. Kennedy, then an ex-Navy Lieutenant. With reconciliation came another child, Christina, a healthy girl born in on Gene's 28th birthday, November 19, 1948. But the marriage would founder, ending with a finalized divorce decree in 1953. By this time Gene's career was waning. At the same time, Hollywood was in a state of flux that began earlier in the post-war era. Movie attendance began to drop in the late '40s, a reflection of changing tastes and the impact of two consequential events. A 1948 Supreme Court ruling forced the studios to divest themselves of their theater chains and so, without guaranteed outlets for their pictures, the studios were making fewer of them. And then television arrived.</span></div><div class="separator" style="clear: both; text-align: left;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"> </span></div><div class="separator" style="clear: both; text-align: left;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">After <i>The Ghost and Mrs. Muir</i> in 1947 the only real bright spot on Gene Tierney's filmography for many years was <i>Night and the City</i> (1950) a terrific noir from Jules Dassin co-starring Richard Widmark, set and shot in London. Of course, there were roles she missed out on, like Dorothy McGuire's role in <i>A Tree Grows in Brooklyn</i>, and those she rejected, like Grace Kelly's part in <i>Mogambo</i>. She would later clarify any misunderstanding about her eventual absence from the screen with "My departure from Hollywood was described as a walk-out. No one understood that I was cracking up." There had been the distressing break-up of her serious romance with Prince Aly Khan, Rita Hayworth's ex-husband. And then, after struggling to remember and deliver her lines on <i>The Left Hand of God </i>(1955), Gene broke down. She would spend much of the rest of the decade in and out of mental health facilities.As with Frances Farmer and Vivien Leigh before her, her treatment would include electroshock therapy. Eventually, Gene was diagnosed with manic depression, a condition known today as bipolar disorder.<br /></span></div><div class="separator" style="clear: both; text-align: left;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><br /></span></div><div class="separator" style="clear: both; text-align: left;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-N0kpInZBmGdh1VRgNX27ySPELYoDAfQHPDOW2d-MuJUXMVI270tKJwG4tzVJzI6rgj9MunYQ91-McQPUTSoh6CLRl7XV7WptLb8BQ-KZixZMLlaBuJEmYvVxKZS4ctVX3r20BZr_fCk/s612/Gene+WH+invite.JPG" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="512" data-original-width="612" height="258" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-N0kpInZBmGdh1VRgNX27ySPELYoDAfQHPDOW2d-MuJUXMVI270tKJwG4tzVJzI6rgj9MunYQ91-McQPUTSoh6CLRl7XV7WptLb8BQ-KZixZMLlaBuJEmYvVxKZS4ctVX3r20BZr_fCk/w308-h258/Gene+WH+invite.JPG" width="308" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">RSVP for lunch...at the White House<br /></td></tr></tbody></table>Gene returned to film when she accepted a supporting role in Otto Preminger's all-star production of <i>Advise & Consent</i> (1962). An adaptation of Allen Drury's 1959 Pulitzer Prize-winning bestseller, the story tracks the Senate confirmation hearings of a proposed Secretary of State. Among the cast: Henry Fonda, Charles Laughton, Franchot Tone, Lew Ayres and Walter Pidgeon. Gene took the role of a prominent DC society hostess. Filming began in the fall of 1961 and involved location shooting in and around Washington. As a welcoming gesture, President Kennedy invited the cast to a White House luncheon on September 21, 1961. Gene was graciously seated next to the President and across the table from - her new husband, oil baron Howard Lee. It was the last time she would see John Kennedy but she would always remember him with deep, almost wistful, affection. </span></div><div class="separator" style="clear: both; text-align: left;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"> </span></div><div class="separator" style="clear: both; text-align: left;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">Gene Tierney never fully returned to her film career. She would make her permanent home in Houston, Texas, as Mrs. Howard Lee. It seems, in time, she gained insight and, finally, some inner peace. She would eventually claim, "I have a role now that I think becomes me. I am a grandmother."<br /></span></div><div class="separator" style="clear: both; text-align: left;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"> <div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1y6X41TOiqFLn9WYza03Q3hJ6K4HQCXL94JDLsL6AhEmk17ShjOAyORDNy8oRiFv0oOpTL1mNvoJU2HGghjTDHDyKKwp7Hc6lTHbk3ZMidylxHeJi5KbcI5X6OuZAz99w9qftLGeuvDo/s755/Gene+late+40s.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="755" data-original-width="599" height="441" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1y6X41TOiqFLn9WYza03Q3hJ6K4HQCXL94JDLsL6AhEmk17ShjOAyORDNy8oRiFv0oOpTL1mNvoJU2HGghjTDHDyKKwp7Hc6lTHbk3ZMidylxHeJi5KbcI5X6OuZAz99w9qftLGeuvDo/w350-h441/Gene+late+40s.jpg" width="350" /></a></div></span><p></p><p class="MsoNormal"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"></span></p><p></p><p class="MsoNormal" style="text-align: center;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">Life is a little like a message in a bottle, to be carried by the winds and the tides - Gene Tierney</span></p><p class="MsoNormal" style="text-align: left;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><i><b>End of Pt. 2</b></i></span></p><p class="MsoNormal" style="text-align: left;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><i><b><a href="http://www.ladyevesreellife.com/2020/11/the-gene-tierney-centenary-pt-1-i-felt.html">Link to Pt. 1</a></b></i></span></p><p class="MsoNormal" style="text-align: left;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><b><u>Sources</u>:</b><i><b> </b></i></span></p><p class="MsoNormal" style="text-align: left;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><i><b>Self-Portrait</b></i><b> by Gene Tierney with Mickey Herskowitz (Wyden Books, 1979)</b></span></p><p class="MsoNormal" style="text-align: left;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><b>"Cassini Royale" by Maureen Orth (<i>Vanity Fair</i>, August 2010) </b></span></p><p class="MsoNormal" style="text-align: left;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><b>"Leave Her to Heaven: The Bride Wore Black," by Michael Koresky, <i>Reverse Shot</i>, May 9, 2012 </b><i><b> </b></i><br /></span></p></div><p></p>The Lady Evehttp://www.blogger.com/profile/11963115499930520653noreply@blogger.com2tag:blogger.com,1999:blog-8509825018139758536.post-4116319040232017072020-11-19T08:00:00.160-08:002021-05-18T13:06:55.079-07:00 The Gene Tierney Centenary, Pt. 1: "I felt luck was with me"<p class="MsoNormal"><span style="font-size: small;"><span style="font-family: verdana;"></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: small;"><span style="font-family: verdana;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgk8OSOMaRvZHwBBoLFTj_wE69bqjpsEg4I7Gw4jHRSQzFjA82xSMFpubuV-CK6cd2Nt6x1lAg5b5Z26aNDcoFHn4PJD4zand1pWh7kmPuySpZsZGPPgaOSU3gxgV5oeALgUovthdbylAA/s765/Gene+headline+2.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="765" data-original-width="632" height="430" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgk8OSOMaRvZHwBBoLFTj_wE69bqjpsEg4I7Gw4jHRSQzFjA82xSMFpubuV-CK6cd2Nt6x1lAg5b5Z26aNDcoFHn4PJD4zand1pWh7kmPuySpZsZGPPgaOSU3gxgV5oeALgUovthdbylAA/w355-h430/Gene+headline+2.jpg" width="355" /></a></span></span></div><p></p><p class="MsoNormal" style="text-align: center;"><span style="font-family: verdana;"><span> <i>Celebrating the 100th anniversary of Gene Tierney's birth on November 19, 1920</i><br /></span></span></p><p class="MsoNormal" style="text-align: center;"><span style="font-family: verdana;"><span> ~</span></span></p><p class="MsoNormal"><span style="font-family: verdana;"><span>Marlene Dietrich once said, “The relationship between the make-up
man and the film actor is that of accomplices in crime.” Amusing, and probably true of some
whose faces have graced the silver – or Technicolor – screen, but not Gene Tierney. One of Hollywood's foremost leading ladies of the 1940s, she was a tall, elegant beauty, with
cheekbones that might’ve been shaped by a master sculptor, eyes the shimmery green
of the sea on a windswept day, lips plush as an orchid in full bloom. And yet she was more, a young woman who burned with ambition and the desire to be a respected actress. "I simply did not want my face to be my talent," she would reflect, looking back years later.</span></span></p><a name='more'></a><p></p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_KxTSqa2YCx5SiZZMoSNifBc8zHKaoFNz71StcFdFLainJqhk56tvtgJ3kv4TUU_y-jeBs5RaTCka1hT1yH9yiLzbUrkzbskUjKIedRP2s1hPhuTnCWNTo_VfHhJxIURFtcNMCFokE_g/s1600/Gene+Mrs.+Muir.jpg" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1600" data-original-width="1318" height="358" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_KxTSqa2YCx5SiZZMoSNifBc8zHKaoFNz71StcFdFLainJqhk56tvtgJ3kv4TUU_y-jeBs5RaTCka1hT1yH9yiLzbUrkzbskUjKIedRP2s1hPhuTnCWNTo_VfHhJxIURFtcNMCFokE_g/w295-h358/Gene+Mrs.+Muir.jpg" width="295" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Gene as "Mrs. Muir"<br /></td></tr></tbody></table><span style="font-family: verdana;"><span>Gene Tierney was just a kid when she made her Broadway debut at
barely 18, and she was cast in her first role under contract to 20<sup>th</sup>
Century Fox before she was 20. She would go on to star in an array of much-loved
classics, films like the Lubitsch fantasy <i>Heaven Can Wait </i>(1943), the
Preminger noir<i> Laura</i> (1944), John Stahl’s Technicolor noir <i>Leave Her
to Heaven</i> (1945), Edmund Goulding’s adaptation of Somerset Maugham’s <i>The
Razor’s Edge</i> (1946) and Joseph L. Mankiewicz’s <i>The Ghost and Mrs. Muir </i>(1947). </span></span><p></p><span style="font-size: small;"><span style="font-family: verdana;">
</span></span><p class="MsoNormal"><span style="font-family: verdana;"><span>Unlike most young women who become movie stars, Gene Tierney was
born into a world of apparent ease and advantage. Her father was a wealthy Manhattan
insurance broker whose mounting prosperity allowed him to move his family up
and out of Brooklyn, where Gene was born, to the tranquility of Greens
Farms, the oldest neighborhood in Westport, Connecticut. There, Howard S. Tierney
would eventually set about building a mansion on acreage he would, by turns,
sell off and expand over time. Gene was sent to St. Margaret’s, the
private school her mother had attended. She traveled to Switzerland for two years at
the Brilliantmont School, then on to posh Miss Porter’s School in Connecticut. Gene
came out as a debutante in September 1938. This was the year that upper crust
princess Brenda Frazier was named Debutante of the Year, becoming – as she was
dubbed at the time – the first “celebutante.” Gene Tierney was never touted as
a celebutante, but in February 1940, less than two years after her debut into
society, she was the focus of a four-page spread in <i>Life</i> magazine and on
her way to becoming world famous for something more than being rich and pretty: </span></span><br /></p><p></p><p><span style="font-size: small;"><span style="font-family: verdana;"><span> "Like half
the daughters in America, Gene Tierney decided at 17 that she wanted to be an
actress. Like most conservative, well-to-do families, the Tierneys<span> </span>protested. But today at 19, Gene is acting in
the Broadway hit, </span><a href="https://www.playbill.com/production/the-male-animal-cort-theatre-vault-0000003605"><i><span color="windowtext" style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">The
Male Animal</span></i></a><span>, and is being hailed as a rising starlet who “blazes with
animation.”</span></span></span></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgq3rUR5HN2i9uDBJfoVV07hdrJXFgF3LZ1tMb8e0lh46v1CtGWfidmkbSN6szpAQ7u971Mbk4tvmbMOvh8DwUir4mqcNo1tYBaf_n_gK8FFSIX9hjv-NNqXvvD6jj-XhcGihtu25fnnXI/s590/Tierney+in+Life+1940+%25282%2529.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="590" data-original-width="291" height="379" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgq3rUR5HN2i9uDBJfoVV07hdrJXFgF3LZ1tMb8e0lh46v1CtGWfidmkbSN6szpAQ7u971Mbk4tvmbMOvh8DwUir4mqcNo1tYBaf_n_gK8FFSIX9hjv-NNqXvvD6jj-XhcGihtu25fnnXI/w187-h379/Tierney+in+Life+1940+%25282%2529.jpg" width="187" /></a></div><span style="font-size: small;"><span style="font-family: verdana;"><span> With her brother
and sister, Gene grew up in the wealthy suburban town of Greens Farms, Conn. She
“finished” at [a] fashionable Farmington school, [and] made her debut in 1938. After
her parents saw that Gene was really in earnest about acting, they pitched in
to help her. Mr. Tierney took every Wednesday off from his insurance business. He
and Gene tramped all day on Broadway, making the rounds of producers’ offices.
First producer to give Gene a part last winter was George Abbott, who cast her
in two shows. Both flopped, but they gave Gene valuable training.</span></span></span><span style="font-size: small;"><span style="font-family: verdana;"><span> </span></span></span><p></p><div style="text-align: left;"><span style="font-size: small;"><span style="font-family: verdana;"><span> This
winter, while Gene is working, Mrs. Tierney serves her breakfast in bed. Twice
a week Gene studies acting with Benno Schneider…She often sees her old friends,
sometimes lunches at the Automat and one or two nights a week goes dancing.</span></span></span></div><div style="text-align: left;"><span style="font-size: small;"><span style="font-family: verdana;"><span> </span></span></span></div><div style="text-align: left;"><span style="font-size: small;"><span style="font-family: verdana;"><span> In <i>The
Male Animal</i> Gene acts the part of a spirited college girl. At right you see
her opening a door for her first entrance on stage. Gene says it is the most
exciting doorway in the world."</span></span></span><span style="font-size: small;"><span style="font-family: verdana;"><span> <br /></span></span></span></div><div style="text-align: left;"><span style="font-size: small;"><span style="font-family: verdana;"><span> </span></span></span></div><div style="text-align: left;"><span style="font-size: small;"><span style="font-family: verdana;"><span>~
<i>Life </i>magazine, February 19, 1940</span></span></span></div><span style="font-size: small;"><span style="font-family: verdana;">
</span></span><p class="MsoNormal"><span style="font-size: small;"><span style="font-family: verdana;"><span>Gene was also featured in <i>Vogue </i>and <i>Harper’s Bazaar </i>during her months in <i>The Male Animal</i>.</span></span></span></p><span style="font-size: small;"><span style="font-family: verdana;">
</span></span><p class="MsoNormal"><span style="font-size: small;"><span style="font-family: verdana;"><span>A lot had happened leading up to her sudden acclaim on the New York
stage. A family trip to California in 1938 had included private studio tours made
possible by her father’s business connections. During a guided tour at Warner Bros., director Anatole Litvak spied Gene and told her, based solely on
her looks, that she should be in movies. Her brother laughed out loud, but she was screen tested the next day and offered a contract. Gene’s father adamantly vetoed the offer. But he did promise that if her interest in acting continued he would take her around to the offices of New York City
agents and producers once she made her social debut. She agreed and he kept his word. After her Broadway debut in <i>Mrs. O’Brien Entertains</i> in early
1939, Gene signed a six month contract with Columbia Pictures. Nothing much
would come of this. She was cast in <i>Coast Guard</i> (1939) opposite Randolph
Scott but was quickly replaced by Frances Dee. And so it was back to New York
and on to her breakthrough role in <i>The Male Animal</i> at the beginning of
1940. Darryl F. Zanuck, head of 20<sup>th</sup> Century Fox, scouted the play
one evening and, with scant entries on her resume, Gene Tierney was soon on her way
to Hollywood under contract to Fox. She was still just 19. </span></span></span></p><span style="font-size: small;"><span style="font-family: verdana;">
</span></span><p class="MsoNormal"><span style="font-size: small;"><span style="font-family: verdana;"><span></span></span></span></p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBvkUrbxDZwkwuVG0IYvOnSVuUg_-YM3BI-1TG4_UhSf3iacV3VnUj-rVcUtQOTAv4A6eLmNn2s1QqA793V8DturuIta9lK5RqiVO4r4ViA_od2xyZCI3kUmzHY2ctlnBTUD2BCjdals8/s631/Gene+and+Howard.png" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="480" data-original-width="631" height="236" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBvkUrbxDZwkwuVG0IYvOnSVuUg_-YM3BI-1TG4_UhSf3iacV3VnUj-rVcUtQOTAv4A6eLmNn2s1QqA793V8DturuIta9lK5RqiVO4r4ViA_od2xyZCI3kUmzHY2ctlnBTUD2BCjdals8/w310-h236/Gene+and+Howard.png" width="310" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Gene and her father, Howard S. Tierney, Sr. <br /></td></tr></tbody></table><span style="font-size: small;"><span style="font-family: verdana;"><span><span><span>Though young, naïve and lacking a significant track record, Gene
would strike an unusually generous deal with the studio. Her contract was negotiated with the help
of her father, who managed her affairs. Both had learned a thing or two from Gene’s
experience with Columbia. <span> </span>Under her new
agreement with Fox, Gene’s salary would be $750/week, more than twice what she’d
earned during her six fruitless months with Columbia, with a raise every six months. Her new Fox contract also
included a list of conditions. It
was stipulated that she would begin filming within three weeks of arrival or the contract
would be void. She would be allowed, with notice, to work six months of the
year on Broadway. She would not be required to undergo any alterations to her appearance, including her hair and her teeth, which were slightly crooked. In addition, she
wouldn’t be asked to change her name; she had been named “Gene,” not Jean or Jeanne,
in honor of an uncle who had died young. With so much invested in her, Fox
got her up on the screen in a hurry and poured its PR energies into building up its new starlet through
carefully concocted magazine layouts, newspaper stories and radio items.</span></span></span></span><span style="font-family: verdana;"><span><span>
</span></span></span></span><p class="MsoNormal"><span style="font-size: small;"><span style="font-family: verdana;"><span><span><span>In her first film as a Fox leading lady Gene was cast opposite Henry Fonda in <i>The Return of Frank James</i>,
released in August 1940 and directed by Fritz Lang. The film was a follow-up to
the 4<sup>th</sup> most profitable film of 1939, Fox’s production of <i>Jesse
James</i>, starring Tyrone Power as Jesse and Fonda as brother Frank. The
sequel, like the original, was shot in Technicolor, a process reserved for
A-pictures in those days. The film was a big hit. But this wasn't enough to satisfy Gene. She thought her voice sounded high and strident, like “an angry Minnie
Mouse." Some who reviewed the
film saw her as “mostly a pretty face, but a decent actress,” while the <i>Harvard
Lampoon</i> wasn’t convinced and named her the “Worst Female Discovery” of the
year. As Gene would later note, she was intense and<span> </span>determined. Having learned
from working with Henry ”One-Take” Fonda, she persisted with studying film performances and continued with her acting lessons. She'd also taken up smoking and this would change her voice by deepening it.</span></span></span></span></span></p><span style="font-size: small;"><span style="font-family: verdana;"><span><span>
</span></span></span></span><p class="MsoNormal"><span style="font-size: small;"><span style="font-family: verdana;"><span><span><span></span></span></span></span></span></p><p class="MsoNormal"><span style="font-size: small;"><span style="font-size: small;"><span style="font-family: verdana;"><span><span><span></span></span></span></span></span></span></p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhfBcLIVq-dZbrskrnvFgdGKSMeZM4lRNKaYvV0N7UNxH4gSJQgZ9Dh5b7D8c002vG5IjybUWDUSLUNdykFO8oQ_fR815kJlSlHKALMXlM0W_TPe7f9J7qRbbGnJmvQMbc4VjWQyNvZ6ZA/s932/Gene+Shanghai.jpg" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="932" data-original-width="793" height="398" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhfBcLIVq-dZbrskrnvFgdGKSMeZM4lRNKaYvV0N7UNxH4gSJQgZ9Dh5b7D8c002vG5IjybUWDUSLUNdykFO8oQ_fR815kJlSlHKALMXlM0W_TPe7f9J7qRbbGnJmvQMbc4VjWQyNvZ6ZA/w338-h398/Gene+Shanghai.jpg" width="338" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Publicity photo for <i>The Shanghai Gesture</i><br /></td></tr></tbody></table><p></p><div style="text-align: left;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-family: verdana;"><span><span><span>The films that followed <i>Frank James</i> came in quick succession, beginning with <i>Hudson’s Bay</i>, released in
January 1941 and followed by <i>Tobacco Road</i>, <i>Belle Starr</i>, and <i>Sundown</i>.
Josef von Sternberg’s exotic noir <i>The Shanghai Gesture</i>, starring Gene,
Walter Huston, Victor Mature and Ona Munson, wrapped in 1941 and was released
in January 1942. In this dark fantasia, Gene plays the gorgeous, spoiled and sulky
daughter of a powerful man with a past (Huston). His past returns to haunt them
both when they visit Shanghai on the eve of a Chinese New Year. Gene’s
portrayal of a defiant brat who topples into decadence would prefigure two later performances as troubled and difficult women, Ellen the lethal beauty in <i>Leave Her to Heaven </i>(1945) and Isabel,
the scheming socialite of <i>The Razor’s Edge</i> (1946).</span></span></span></span></span></span></div><p><span style="font-size: small;"><span style="font-size: small;"><span style="font-family: verdana;"><span><span>
</span></span></span></span></span></p><p class="MsoNormal"><span style="font-size: small;"><span style="font-size: small;"><span style="font-family: verdana;"><span><span><span>Such a rapid rise at such a young age is the stuff of fairy tales;
Gene appeared to achieve her dreams almost as quickly as she dreamed them. Seemingly
overnight she became an actress, then a fledgling star. Off-camera she would
meet and marry a charismatic young man who'd swept her off her feet in just a few months. He was Oleg
Cassini, then a costume designer at Paramount.</span></span></span></span></span></span></p><span style="font-size: small;"><span style="font-size: small;"><span style="font-family: verdana;"><span><span>
</span></span></span></span><p class="MsoNormal"><span style="font-size: small;"><span style="font-family: verdana;"></span></span></p><span style="font-size: small;"><span style="font-family: verdana;"><span><span>
</span></span></span></span><p class="MsoNormal"><span style="font-size: small;"><span style="font-family: verdana;"><span><span><span>But clouds had already begun to gather, casting shadows over Gene’s
storybook world. While she’d been away at the Brilliantmont School in
Switzerland, Howard Tierney’s business failed and the family estate in
Connecticut went into foreclosure. <span> </span>Gene didn’t learn of any of this until she
returned home from school. It was at this point that Howard sent his family on the
west coast vacation that took Gene to Hollywood and ignited her dreams of an
acting career. A year or so later, thanks to her Fox contract, Gene became the
family’s primary breadwinner with her income funneled into a trust
administered by her father. When she became involved with Cassini, both her family
and her studio opposed the romance. As a result, Cassini lost favor in town and soon found himself out of work. Although her husband was a talented designer who would go on to </span><a href="https://www.legacy.com/news/culture-and-history/oleg-cassini-and-the-jackie-look/"><span color="windowtext" style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">clothe
Jacqueline Kennedy</span></a><span> among others, Gene’s career as an actress
became the couple’s main source of income. Luckily, she was making pictures one
after another and becoming ever more popular with fans, but she had a great
deal of responsibility resting on her slender young shoulders.</span></span></span></span></span></p><span style="font-size: small;"><span style="font-family: verdana;"><span><span>
</span></span></span></span><p class="MsoNormal"><span style="font-size: small;"><span style="font-family: verdana;"><span><span><span>As it turned out, Gene Tierney would never appear on Broadway
again, regardless of the terms of her Fox contract. Due to financial
considerations, her father waived this option in 1940, preventing her from taking
the title role in the 1941 play, <i>Claudia</i>. Dorothy McGuire would
originate the role on Broadway and go on to portray Claudia in the 1943 film
adaptation.</span></span></span></span></span></p><p class="MsoNormal"><span style="font-size: small;"><span style="font-family: verdana;"><span><span><span></span></span></span></span></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhvYDQ3G41Lxrqipxkzk2fXe823ooc1uLhB1Dr_0HDOqUlX1DkokvZwvQacmAHvHqhlTgGmYFuEBxdCtkAgeti2PqLE0WliDVF57_ZR3NDYS45CHRp0cc4sPfFDYuRb8RRHlR0jvw9kEH4/s500/Gene+Pt+1.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="500" data-original-width="376" height="392" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhvYDQ3G41Lxrqipxkzk2fXe823ooc1uLhB1Dr_0HDOqUlX1DkokvZwvQacmAHvHqhlTgGmYFuEBxdCtkAgeti2PqLE0WliDVF57_ZR3NDYS45CHRp0cc4sPfFDYuRb8RRHlR0jvw9kEH4/w295-h392/Gene+Pt+1.jpg" width="295" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"></td></tr></tbody></table><div class="separator" style="clear: both; text-align: center;"><span style="font-size: small;"><span style="font-family: verdana;"><span><span><span></span></span></span></span></span></div></span><p></p><p style="text-align: center;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-family: verdana;"><span><span><span>"I used to annoy my father by telling him how much I felt luck was with me" - Gene Tierney<br /></span></span></span></span></span></span></p><p><span style="font-size: small;"><span style="font-size: small;"><span style="font-family: verdana;"><span><span><span> <i><b>End of Pt. 1</b></i></span></span></span></span></span></span></p><p><i><span style="font-size: small;"><span style="font-size: small;"><span style="font-family: verdana;"><span><span><span><a href="https://www.ladyevesreellife.com/2020/11/the-gene-tierney-centenary-pt-2-carried.html"><b>Link to Pt. 2</b></a></span></span></span></span></span></span></i></p><p><span style="font-size: small;"><span style="font-size: small;"><span style="font-family: verdana;"><span><span><span><b> <u><i>Sources</i></u></b>:</span></span></span></span></span></span></p><p class="MsoNormal" style="text-align: left;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><i>Self-Portrait</i> by Gene Tierney with Mickey Herskowitz (Wyden Books, 1979)</span></p><p class="MsoNormal" style="text-align: left;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><i>Life Magazine</i>, February 19, 1940<b><br /></b></span></p><p><span style="font-size: small;"><span style="font-size: small;"><span style="font-family: verdana;"><span><span><span><i><b> </b></i></span></span></span></span></span></span></p><p></p><span style="font-size: small;"><span style="font-size: small;"><span style="font-family: verdana;">
</span></span></span><p></p><p></p>The Lady Evehttp://www.blogger.com/profile/11963115499930520653noreply@blogger.com4tag:blogger.com,1999:blog-8509825018139758536.post-7779609017666174222020-10-21T21:31:00.025-07:002021-09-05T11:05:28.415-07:00The (Almost) Great McGinty<p class="MsoNormal"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4skmt-nlI2ZZkWXITkOTX14uUSkLg4vPajHyQ06WkNJiVTFCPuo4I3bH5fuRrQF5awQNwLoOCmxqK0IN583dLHVRAJdtuIByMduxlZaf9Qcwnp-Wk3AgZQILkkegK7vSleuXPlWThdB4/s800/mcginty+paramount+pictures+credits.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="302" data-original-width="800" height="234" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4skmt-nlI2ZZkWXITkOTX14uUSkLg4vPajHyQ06WkNJiVTFCPuo4I3bH5fuRrQF5awQNwLoOCmxqK0IN583dLHVRAJdtuIByMduxlZaf9Qcwnp-Wk3AgZQILkkegK7vSleuXPlWThdB4/w621-h234/mcginty+paramount+pictures+credits.jpg" width="621" /></a></div><p><br /></p><p style="text-align: center;"><b><span style="font-family: verdana;">PRESTON STURGES SERVES UP POLITICAL SATIRE IN HIS DIRECTORIAL DEBUT</span></b></p><p><span style="font-family: verdana;">There is Fitzgerald’s Jay Gatsby who aspired to a romantic
fantasy that was his vision of the American
Dream. And there is Preston Sturges’s Dan McGinty whose aspirations didn’t, at
first, extend beyond the opportunities of the moment, a warm bowl of soup, a
couple of quick bucks. Different as they were, both of these fictional fellows
rose from nowhere to stunning prominence…for a while. Gatsby’s tale is a
celebrated tragedy; McGinty’s saga is comic/ironic and not nearly as well known
as it should be.</span></p><p></p><span style="font-family: verdana;">
</span><p class="MsoNormal" style="text-align: center;"><span style="font-family: verdana;"><span></span></span></p><a name='more'></a><div style="text-align: center;"><span style="font-family: verdana;"> ~</span></div><p></p><span style="font-family: verdana;">
</span><p class="MsoNormal"><span style="font-family: verdana;">Dan McGinty was originally to be the central character in <i>Biography
of a Bum</i>, the screenplay Preston Sturges sold to Paramount in 1939 for a piffling
$10 so the studio would allow him to direct it. Sturges had been in Hollywood
writing screenplays since the early ‘30s and had, over the years, developed an
itch to direct his own work. When the deal was finally done and Sturges was set
to make his directorial debut, the New York office sent word west that the
title had to go because, according to Sturges, “bum meant something terrible in
Australia.” Apparently Paramount was concerned that the movie would be
construed at various points across the globe as <i>Biography of a Butt</i>. Censorship
being what it was in those days and international box office always being
a major consideration, “bum” was out. Thus, <i>The Great McGinty </i>(1940).</span></p><p class="MsoNormal"><span style="font-family: verdana;"></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhduvMynOkCZKuMj7edGO2A4Aceo1c-Dwf812cJYOlaUXw_wm1y_LZFRh_s1JPdc_lmWbSuRLsEA2bAhkqsUcgCOw0FqZPajb6ICsKu0Upxh1_x6vfxOe3JFLGVjWRu1NYlZdgYMfsFhFk/s600/McG+bartender..JPG" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="428" data-original-width="600" height="339" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhduvMynOkCZKuMj7edGO2A4Aceo1c-Dwf812cJYOlaUXw_wm1y_LZFRh_s1JPdc_lmWbSuRLsEA2bAhkqsUcgCOw0FqZPajb6ICsKu0Upxh1_x6vfxOe3JFLGVjWRu1NYlZdgYMfsFhFk/w476-h339/McG+bartender..JPG" width="476" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;">"Do you want Tabasco in it?" the bartender asks.</span><br /></td></tr></tbody></table><span style="font-family: verdana;"><br />Though the opening title announces that “this is the story of
two men,” the less interesting of the two is onscreen for just a few minutes. This
man was a bank cashier who acted on a weak impulse and lost everything. “I
was going places!” he howls, prompting the other man to relate the tumultous tale
of what he once was and what he has lost. This man is Dan McGinty (Brian
Donlevy), now bartending a rowdy dive in an unnamed country in the remote tropics where the
other man has become very, very drunk. “I was the governor of a state,” McGinty tells him.</span><p></p><span style="font-family: verdana;">
</span><p class="MsoNormal"><span style="font-family: verdana;">Dan McGinty had been a big city street tough. One fine election day
he stopped by a soup kitchen where he got a tip on how he could make an easy
$2.00. Soon he was commiserating with a fast-talking political operative (William
Demarest) who says he will pay that amount to McGinty if he will vote for the
incumbent mayor. On his own initiative, McGinty votes 37 times under 37
different names at 37 different precincts. This amazing accomplishment brings him
face to face with the local political Boss (Akim Tamiroff). McGinty’s brash self-possession
along with his rough-and-toughness inspires the Boss to hire him as muscle for his crooked
outfit. McGinty’s implausible whirlwind trip from street bum to protection collector
to alderman to mayor to state governor to bartender set the mold for the string
of offbeat, slapstick-riddled Sturges comedies of the 1940s.</span></p><span style="font-family: verdana;">
</span><p class="MsoNormal"><span style="font-family: verdana;"></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvtk0StL23hjD4niAYu2u_9He8JCQNutgYHihj9OJau1ankXS5Alw9JFEQr_5J91c3vn0BJplZTZwiB8uwVd1wmC0B2Mp5hCyCmbcYk2fGOmN7wuJBRTrFR09-yNk8HxO_eIAxolGMvcU/s600/McG+suit.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="373" data-original-width="600" height="312" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvtk0StL23hjD4niAYu2u_9He8JCQNutgYHihj9OJau1ankXS5Alw9JFEQr_5J91c3vn0BJplZTZwiB8uwVd1wmC0B2Mp5hCyCmbcYk2fGOmN7wuJBRTrFR09-yNk8HxO_eIAxolGMvcU/w500-h312/McG+suit.jpeg" width="500" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;">The Boss is pleased. Even in that "horse blanket" of a suit, McGinty collected <i>all </i>the overdue protection money.</span></td></tr></tbody></table><p></p><p class="MsoNormal"><span style="font-family: verdana;"><i></i></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7JLAP_FVY61ZSD1vAnWCw8c8fqYLyI7pN9SNl1paH_7FJ1uOcooz_rvIm7Pis3vu4bZRXmJppJTWW_uuEj7cmawYcd4S7qmioKxO0IfXcQf76kdmq0EAJWTrwQ2n_IZ29bhnisVcfB8A/s600/McGinty+family.png" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="456" data-original-width="600" height="371" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7JLAP_FVY61ZSD1vAnWCw8c8fqYLyI7pN9SNl1paH_7FJ1uOcooz_rvIm7Pis3vu4bZRXmJppJTWW_uuEj7cmawYcd4S7qmioKxO0IfXcQf76kdmq0EAJWTrwQ2n_IZ29bhnisVcfB8A/w490-h371/McGinty+family.png" width="490" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;">A mayor must have a wife...he gets a family.</span><br /></td></tr></tbody></table><p></p><p class="MsoNormal"><span style="font-family: verdana;"><i>McGinty </i>is a raucous - and biting - political satire that travels
at the tight, foot-to-the-floor pace that became a Sturges trademark. The dialogue is
snappy and smart, the pratfalls cleverly placed. But when, well into the film, McGinty
falls in love with the woman (Muriel Angelus) he married strictly because a
mayor must have a wife, the tone softens. A divorcee, his wife brought two young
children to the marriage and he has fallen for them, too. As McGinty slips into
a happy home life his conscience, with a gentle but firm nudge from his wife
(“Darling…”), begins to stir. This, just as the corrupt political machine that
plucked him from the gutter drops him into the governor’s office.</span></p><span style="font-family: verdana;">
</span><span style="font-family: verdana;">
</span><p class="MsoNormal"><span style="font-family: verdana;">Which brings us back to the opening title:</span></p><span style="font-family: verdana;">
</span><span style="font-family: verdana;">
</span><p class="MsoNormal"><span style="font-family: verdana;"><i>This is the story of two men who met in a banana
republic. One of them was honest all of his life except one crazy minute. The
other was dishonest all of his life except one crazy minute. They both had to
get out of the country.</i></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTD-M6FEMNFikqw-TY-pXl6K7a1Kuw0CpLj-SuljxbRW5z9Rd8KOUgVeDkRy56owkwaLpWEZUNlyjmiO6lAMPMiMxUWiGTSLgD0m1FhbZglybc5jeSLegYwuN9I8z76m7nIoTVcEFKufc/s600/McG+brannigan.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="444" data-original-width="600" height="355" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTD-M6FEMNFikqw-TY-pXl6K7a1Kuw0CpLj-SuljxbRW5z9Rd8KOUgVeDkRy56owkwaLpWEZUNlyjmiO6lAMPMiMxUWiGTSLgD0m1FhbZglybc5jeSLegYwuN9I8z76m7nIoTVcEFKufc/w479-h355/McG+brannigan.jpg" width="479" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;">Rumble in the Jungle...the Boss and McGinty are at it again...Skeeter looks on.</span><br /></td></tr></tbody></table><p></p><span style="font-family: verdana;">
</span><p class="MsoNormal"><span style="font-family: verdana;">The three subversively oddball and gruffly charming central political
characters, McGinty, the Boss and Skeeter the operative, are so colorfully
drawn and so vividly spun to life by Donlevy, Tamiroff and Demarest,
respectively, that the viewer cannot help but take a shine to them and wish they hadn’t had to make a
run for it. And the viewer will wistfully recall lovely and loving Mrs. McGinty, the children and their
Dachshund, Brownie. They will all miss McGinty terribly...<br /></span></p><span style="font-family: verdana;">
</span><p class="MsoNormal"><span style="font-family: verdana;">It was a B-movie that became an A-movie at the box
office and it<i> </i>brought Preston Sturges an Oscar for
his screenplay. Which is to take nothing away from his canny direction. Sturges would go on to write and direct the rest of his best films
over the next eight years: <i>The Lady Eve </i>(1941)<i>, Sullivan’s Travels </i>(1941)<i>,
The Palm Beach Story </i>(1942)<i>, The Miracle of Morgan’s Creek </i>(1943),<i>
Hail the Conquering Hero </i>(1944) and <i>Unfaithfully Yours</i> (1948). After that, it was over for him in Hollywood but what a trove of fun and games, sharp wit and screwy-yet-poignant romance he left behind. <i>McGinty </i>is one of his gems and oh so timely in 2020.</span></p><p style="text-align: center;"> ~ <br /></p><p class="MsoNormal"><span style="font-family: verdana;"><i> </i><b><u>References</u></b>:</span></p><span style="font-family: verdana;">
</span><p class="MsoNormal"><span style="font-family: verdana;"><i>Romantic Comedy in Hollywood</i> by James Harvey (Alfred
A. Knopf, 1987)</span></p><span style="font-family: verdana;">
</span><p class="MsoNormal"><span style="font-family: verdana;"><i>Preston Sturges by Preston Sturges: His Life in His Words</i>,
adapted and edited by Sandy Sturges (Simon and Schuster, 1990)</span></p><p class="MsoNormal" style="text-align: center;"><span style="font-family: verdana;"><span style="font-size: small;"><span> ~</span></span></span></p><p class="MsoNormal"><span style="font-family: verdana;"><span style="font-size: small;"><span><i>This is my entry for the Classic Movie Blog Association's Fall 2020 "Politics on Film" Blogathon, <a href="http://clamba.blogspot.com/2020/10/cmba-politics-on-film-blogathon-october.html" target="_blank"><b>click here</b></a> for more.</i></span></span></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPeqYXtUkvLJDx77yANhKbRj_Nse_ZzBTVrPaQJuyGCRrEm4Xqqjg6w27mzWyAGfrQD7Gu94YF2HpYdjWMJjosWqg8rANpMgF9aZzYJtGotGWS8hr3uT8JJJ3SeM6rae3zAcbSOvbced4/s620/CMBA+Banner+-Politics+on+Film2.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="349" data-original-width="620" height="262" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPeqYXtUkvLJDx77yANhKbRj_Nse_ZzBTVrPaQJuyGCRrEm4Xqqjg6w27mzWyAGfrQD7Gu94YF2HpYdjWMJjosWqg8rANpMgF9aZzYJtGotGWS8hr3uT8JJJ3SeM6rae3zAcbSOvbced4/w465-h262/CMBA+Banner+-Politics+on+Film2.jpg" width="465" /></a><span style="font-family: verdana;"><span style="font-size: small;"><span> </span></span><!--[if gte mso 9]><xml>
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</span>The Lady Evehttp://www.blogger.com/profile/11963115499930520653noreply@blogger.com22tag:blogger.com,1999:blog-8509825018139758536.post-48267002634108400292020-08-08T12:27:00.005-07:002021-11-18T14:07:57.064-08:00AN EXCELLENT FORMULA!<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjiaBaHPmquzjrMA7O83-FoNepWC7ePsw7HvPuSeh_xEf4Fu_F_BpSXcg-uRDd0hxFjLj2IccWK30CrXi3hxWbBxw9qT1i56VdKJptfj3kzi2bZXQ2xNaySvF7dTwdEbSfaZtA24RXJmTo/s1600/Hitch+Villains.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="320" data-original-width="600" id="_idgpn_1" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjiaBaHPmquzjrMA7O83-FoNepWC7ePsw7HvPuSeh_xEf4Fu_F_BpSXcg-uRDd0hxFjLj2IccWK30CrXi3hxWbBxw9qT1i56VdKJptfj3kzi2bZXQ2xNaySvF7dTwdEbSfaZtA24RXJmTo/s1600/Hitch+Villains.jpg" /></a></div>
<span face=""></span><br />
<h4 style="text-align: center;">
<span face="">THE HITCHCOCK VILLAINS </span></h4>
<br />
<span face=""><i>This is my contribution to Maddy's 4th Annual Alfred Hitchcock blogathon, <b><span style="color: blue;"><a href="https://maddylovesherclassicfilms.wordpress.com/2020/08/08/the-4th-alfred-hitchcock-blogathon-begins/">click here</a></span></b> to learn more...</i></span><br />
<br />
<span face="">In 1962, French film director/critic Francois Truffaut spent a
week sequestered at Universal Studios with Alfred Hitchcock, a filmmaker he
admired extravagantly. There, the two explored each of Hitchcock’s films to
date in detail. Discussing <i>Stage Fright</i> (1950), one of his lesser films,
Hitchcock remarked, “The greatest weakness of the picture is that it breaks an
unwritten law: The more successful the villain, the more successful the
picture. That’s a cardinal rule, and in this picture the villain was a flop!”
Truffaut was delighted, “The better the villain, the better the picture,” he
exclaimed, “that’s an excellent formula!”
</span><br />
<div class="MsoNormal">
<span face=""><br /></span></div>
<div class="MsoNormal">
<span face=""><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">Is it? Let’s take a closer look at the villains in some of Hitchcock’s
best films.</span></span><br />
<br />
<div style="text-align: center;">
<span face=""><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">~ </span></span></div>
<a name='more'></a><span face=""><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><br /></span></span></div>
<div class="MsoNormal">
<span face=""><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">Hitchcock came to the U.S. in 1939 under contract to producer
David O. Selznick who was then completing production on <i>Gone with the Wind</i>.<span style="mso-spacerun: yes;"> </span><i>Rebecca</i> (1940), an adaptation of
Daphne du Maurier’s 1938 gothic romance/mystery, was Hitchcock’s first picture
for Selznick. <i>Rebecca</i> is a love story wrapped in a mystery. The setting
is Manderley, a grand estate on an isolated stretch of English seacoast. The beautiful
mistress of the manor, Rebecca, has died and her husband (Laurence Olivier) remarries
to a naïve and unsophisticated girl (Joan Fontaine). When the newlyweds return
to windblown Manderley, they are greeted by a small army of servants, including
the dour head housekeeper, Mrs. Danvers. </span></span></div>
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<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNVfYt5eS4J8kriAODsscocLkIjxO8cG_OZX-EaRdQZto3-Mo8KUV7lcZi0LNaxNlqgLRHPRHWuMWR4K910j-YjnCca-x3OYOZ1E4QlOR7j7_UXKeuJVpz-IGbskHkKwKecG4KnSeCgMg/s1600/Danvers.png" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="297" data-original-width="475" id="_idgpn_2" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNVfYt5eS4J8kriAODsscocLkIjxO8cG_OZX-EaRdQZto3-Mo8KUV7lcZi0LNaxNlqgLRHPRHWuMWR4K910j-YjnCca-x3OYOZ1E4QlOR7j7_UXKeuJVpz-IGbskHkKwKecG4KnSeCgMg/s1600/Danvers.png" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span face="">Judith Anderson as Mrs. Danvers, <i>Rebecca </i>(1940)</span></td></tr>
</tbody></table>
<span face=""><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">Laurence Olivier is the perfect choice to play the widower, a
dashing aristocrat with a troubled soul, and Joan Fontaine is well cast as the young bride
who will slowly transition from timidity to self-possession. Equal to both is
Judith Anderson as Mrs. Danvers, the chilly, poker-faced housekeeper. Dead Rebecca
is the villain of the tale but, given her physical absence, Mrs. Danvers, her self-appointed minion, acts on her behalf.<span style="mso-spacerun: yes;">
</span>Anderson portrays Danvers as cold as ice and perilous as
an undetected iceberg. Dressed in black, expressionless and severe, she floats through
Manderley like an apparition. Her grim reserve makes it plain that she remains
devoted to Rebecca, that she disapproves of, actually despises, the new wife
and is bent on sabotaging her and the marriage. </span></span></div>
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<span face=""><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">In discussing <i>Rebecca</i>,
Hitchcock agreed with Truffaut that the story was a Cinderella tale, and said, “The
heroine <i>is</i> Cinderella, and Mrs. Danvers is one of the ugly sisters.” <span style="mso-spacerun: yes;"> </span>Judith Anderson’s spectral performance as an
“ugly sister” whose repressed menace bursts into active vengeance earns her a
place in the pantheon of great Hitchcock villains. She also earned an Oscar
nomination for the role. The actress herself would credit her mesmerizing
performance to collaboration with her director. She said of Hitchcock, “I knew
I was in the presence of a master; I had utter trust and faith in him.”</span> </span><br />
<br />
<div style="text-align: center;">
<span face="">~</span></div>
</div>
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<span face=""><i><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">Shadow of a Doubt </span></i><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">(1943) has
been called Hitchcock’s own favorite of his films. When Truffaut asked him
about it, Hitchcock replied, “I wouldn’t say that…” But he would say he enjoyed
working with playwright Thornton Wilder, author of <i>Our Town</i>,<span style="mso-spacerun: yes;"> </span>on the script. When Wilder enlisted to serve
in WWII, Hitchcock turned to Sally Benson, author of the <i>Meet Me in St.
Louis</i> stories and novel, to complete the script. It’s no wonder, working with
Wilder and Benson, that the British filmmaker could so believably depict idyllic
small-town America in <i>Shadow of a Doubt</i>.</span></span></div>
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<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-XXmqgRoIBqK_5BIvgAIieWQI_Coy0A2iddmKi8aoqF3CcqK0kaCg4yKpA3k-UTSvcG8vdbmPPM3TpEtoqr9jMzOXzGUcnHJFdbCDQED-ulfuJz9XefWY8eysCCNqmbz1ydj04S5Kr4c/s1600/Charlies.jpg" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="336" data-original-width="450" id="_idgpn_3" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-XXmqgRoIBqK_5BIvgAIieWQI_Coy0A2iddmKi8aoqF3CcqK0kaCg4yKpA3k-UTSvcG8vdbmPPM3TpEtoqr9jMzOXzGUcnHJFdbCDQED-ulfuJz9XefWY8eysCCNqmbz1ydj04S5Kr4c/s1600/Charlies.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span face="">Joseph Cotten and Teresa Wright, <i>Shadow of a Doubt </i>(1943)</span></td></tr>
</tbody></table>
<span face=""><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">Santa Rosa, California, is home to the Newton family. Father
(Henry Travers) is a bank clerk, mother (Patricia Collinge) is a housewife,
oldest daughter Charlie (Teresa Wright) has just graduated from high school and
the two younger children are still in grammar school. It’s summertime and young
Charlie is feeling restless. Then a telegram arrives from her beloved namesake,
Uncle Charlie (Joseph Cotten), Mrs. Newton’s younger brother, announcing his
imminent visit.</span></span></div>
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<span face=""><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">By this time, Uncle Charlie has already been introduced and there
is good reason to be suspicious of him. He is first seen lounging in his room
at a seedy boarding house in an unnamed city. Men are after him and his sudden decision
to visit family is an escape plan. Joseph Cotten as Uncle Charlie portrays the
first in a series of Hitchcock’s “smiling psychopaths,” usually a twisted
mama’s boy. In this case, the boy was the baby of the family, doted on and
spoiled with little discipline and lots of toys. According to his sister, a
childhood bicycle accident effected a change in his personality…</span></span></div>
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<span face=""><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">Uncle Charlie grew up to be a real charmer. This would have been
no stretch for handsome, velvet-and-bourbon-voiced Joseph Cotten. <span style="mso-spacerun: yes;"> </span>At this point in his career he was portraying congenial
and attractive good guys in films like <i>Citizen Kane </i>(1941) and <i>The
Magnificent Ambersons </i>(1942). Uncle Charlie was a break in type for him,
for Charlie’s congeniality is, by turns, overblown and hard-edged, reflecting the
man’s artifice on one hand, and his volatility on the other. His complete lack
of empathy is exposed in an outburst that also lays bare his intense loathing of
people. When caught out as a killer by his horrified namesake, he snarls, </span><i><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman";">“Do you know the world is a foul sty? Do you
know if you ripped the fronts off houses you’d find swine?”</span></i></span></div>
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<span face=""><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman";">Accentuating the
man’s malevolence is the wholesome counterpoint young Charlie presents. And
just as Teresa Wright’s earnest portrayal of moral goodness heightens Cotten’s
portrait of irredeemable evil, his progressively more sinister Uncle Charlie amplifies
her character’s decency. <i>Shadow of a Doubt</i> is not only blessed with an
exquisite villain but also a superbly realized heroine.</span> </span><br />
<br />
<div style="text-align: center;">
<span face="">~</span></div>
</div>
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<span face=""><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman";">Francois Truffaut
declared that <i>Notorious</i> (1946) was “truly [his] favorite,” at least
among the black and white films, and “the very quintessence of Hitchcock.” It
was also, without qualification, TCM host Robert Osborne’s favorite Hitchcock.
The director’s daughter, Patricia, would proclaim it “...a perfect film!” when
she watched <i>Notorious </i>again for the first time in many years.</span></span></div>
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<span face=""><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman";">With Cary Grant, Ingrid
Bergman, and Claude Rains on hand, we know before we catch our first glimpse of
the back of Cary Grant’s head in Ingrid Bergman’s living<span style="mso-spacerun: yes;"> </span>room that we’re likely to experience onscreen
magic. Providing the backdrop for what becomes a triangular tango is a post-war
tale of expatriate Nazis hatching a diabolical plot in South America. </span></span></div>
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<span face=""><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman";">Every aspect of <i>Notorious</i>,
from Ben Hecht’s script to Ted Tetzlaff’s cinematography and Roy Webb’s score, is
outstanding. Cary Grant and Ingrid Bergman were both then major stars and at
the top of Hollywood’s glittering A-list. Claude Rains was already a well-respected character
actor, a three-time Oscar nominee who could deliver performances
ranging from the nastiest of villains to the most wise and kindly of fathers.</span></span></div>
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<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDNmAZqafZWCrTErhChyphenhyphenTOJ7SC8Lj-lxtDCrRnuvD7kAOqR4TqYUExgrET6JMsIUFo8zTsqUuAf2ESdSO36kx7JOyVQ0jK0suY_0EFE2m7lj7H6bENAGgKHKPg0PomSn2vMMTLvsRDCa4/s1600/claude+and+leo.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="339" data-original-width="450" id="_idgpn_4" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDNmAZqafZWCrTErhChyphenhyphenTOJ7SC8Lj-lxtDCrRnuvD7kAOqR4TqYUExgrET6JMsIUFo8zTsqUuAf2ESdSO36kx7JOyVQ0jK0suY_0EFE2m7lj7H6bENAGgKHKPg0PomSn2vMMTLvsRDCa4/s1600/claude+and+leo.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span face="">Leopoldine Konstantin, Ingrid Bergman and Claude Rains, <i>Notorious </i>(1946)</span></td></tr>
</tbody></table>
<span face=""><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman";">In <i>Notorious</i>
Grant portrays a debonair but callous federal agent named Devlin who enlists
Bergman’s character, Alicia, the hard-partying daughter of a convicted spy, to
infiltrate a band of Nazi friends of her father that fled Europe for South
America. Once they arrive in Rio, Dev and Alicia zero in on her former beau, Alex
Sebastian (Rains). Sebastian and his mother (Leopoldine Konstantin) are members
of a Nazi refugee group that, though tucked away in Brazil, is plotting a return
to infamy.</span></span></div>
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<span face=""><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman";">Rains earned high
praise, along with another Oscar nomination, for his performance in <i>Notorious.</i>
We first encounter him as Alicia’s still smitten former suitor. As he begins to
court her again, he jealously probes her relationship with Dev as persistently as
he fawns over her. Mme. Sebastian, a classic devouring mother, does not favor her
son’s blossoming romance, so when he asks her to be nicer to Alicia, she sneers,
“Wouldn’t it be a little too much if we both grinned at her like idiots?” Rains depicts Alex Sebastian as a man of shifting moods. He is mistrustful
of Alicia before and after their marriage. He is an impetuous romantic. He is charming.
He is insecure. He will come undone in the face of betrayal. Claude
Rains will make of Alex Sebastian that most unnatural of oxymorons, a sympathetic
Nazi. </span></span></div>
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<span face=""><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman";">But Alex
Sebastian is not the only villain here. His mother, Mme. Sebastian, is played
to the cold-blooded hilt by Mme. Konstantin, an actress just three years older
than Rains. Alex is a mama’s boy who, when in trouble, always turns to mother. On
learning his bride is an American spy, he quickly makes his way to mother’s room.
Convinced his blunder will lead to certain death at the hands of his fellow Nazis,
he falls apart. And iron-willed mother takes over. Propping herself up in bed, she
pulls a cigarette from a bedside box and fires up. No, she assures him, “We are
protected by the enormity of your stupidity…for a time.” It is Mme. Sebastian
who concocts a plan to slowly poison Alicia so that her death will seem the
result of illness and not be questioned. Though Leopoldine Konstantin’s part is
smaller than Claude Rains’, she perfectly complements his portrayal of conflicted
evil with hers of unblinking resolve. </span></span><br />
<br />
<div style="text-align: center;">
<span face=""><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman";">~ </span></span></div>
</div>
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<span face=""><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman";">Hitchcock
directed four films after <i>Notorious </i>that were not very successful. His
fortunes changed with <i>Strangers on a Train </i>(1951), the film that launched
his golden decade. Adapted from Patricia Highsmith’s novel of
the same name, the story introduces </span><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">Guy (Farley Granger) and Bruno (Robert Walker), two strangers who
meet on a train and begin to chat. It emerges that Guy, a rising tennis star, is hoping to
divorce his faithless wife and marry a Senator’s daughter. Spoiled rich boy, Bruno,
is chafing at the financial leash his fed-up father has put him on. In the
course of their conversation, Bruno suggests a “criss-cross” murder scheme. He will kill Guy’s wife and Guy will kill his father so that neither will be
suspected of murdering their adversary. “Sure, Bruno,” Guy says lightly. But
Bruno isn’t joking.</span></span></div>
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<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEje2caPtqIM-DTZKYLvtoFsNt4dsa9ejNcxJKdWp-lsqiAcGq4GCKLxpnXSY7h9C5lNhVC_UXI2h067jwH9xRe0ZsVVtuae-qR8kLuvQt3IgBc8OmjaIh8XZCHWJM6iAZwiuYn85YF0tJg/s1600/Bruno.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="324" data-original-width="450" id="_idgpn_5" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEje2caPtqIM-DTZKYLvtoFsNt4dsa9ejNcxJKdWp-lsqiAcGq4GCKLxpnXSY7h9C5lNhVC_UXI2h067jwH9xRe0ZsVVtuae-qR8kLuvQt3IgBc8OmjaIh8XZCHWJM6iAZwiuYn85YF0tJg/s1600/Bruno.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span face="">Farley Granger and Robert Walker, <i>Strangers on a Train </i>(1951)</span></td></tr>
</tbody></table>
<span face=""><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman";">Like Joseph
Cotten in <i>Shadow of a Doubt</i>, Walker was cast against type. He’d made his
reputation in boyish roles during World War II, most memorably as a young
soldier opposite Judy Garland in <i>The Clock </i>(1945). He had a sweetness in
him, an endearing quality. But Bruno Antony’s boyishness has neither. </span><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">His smarmy
veneer barely masks the thick layer of rage simmering beneath. With a voice
that glides from sensual as silk to cold and hollow as tin, his eyes glitter,
glare, caress. Bruno is a psychopath and Walker brings him to fascinating life.</span></span></div>
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<span face=""><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">From the first instant Bruno appears in the club car insinuating
himself into Guy's life, to his final moments, when he mercilessly implicates
Guy with his dying breath, Walker dominates and energizes the film. Patricia
Hitchcock has said that for all her father's genius, it is Walker's daring
performance that 'made' the picture. Robert Walker died suddenly at age 32,
less than two months after the film’s release. He had appeared in more than 30
films, but it wasn’t until <i>Strangers on a Train</i> that he had the chance to demonstrate his range as an actor. Film critic/historian David Thomson wrote of Walker as Bruno,
"It is a landmark performance. You see it now and you feel the vibrancy of the
modernity..."</span> </span><br />
<br />
<div style="text-align: center;">
<span face="">~</span></div>
</div>
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<div class="MsoNormal">
<span face=""><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">When scouting for the next mythic Hitchcock villain we jump to
1960 and <i>Psycho</i>. A sensation upon release, it truly was one of
Hitchcock’s favorites. He would tell filmmaker Peter Bogdanovich that he was
especially gratified by the film’s emotional impact on audiences. This spoke to the power of visual storytelling, he believed, or "pure cinema," as he preferred to call it.</span></span></div>
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<span face=""><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">The story begins with a scene of trysting lovers who bemoan the
sorry financial state of affairs that prevents them from marrying. When the
woman, Marion (Janet Leigh), later has the opportunity to make off with $40,000
in cash, she takes it and skips town. She will change her mind, but by this
time it’s dark, it’s raining and she will first spend the night at an out of
the way motel. Here she will meet Norman Bates (Anthony Perkins) who manages
the motel for his mother.</span></span></div>
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<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEidbHqimzEcb8dCdACF3xl-KisALX2kw_lTDSeTlCV6AVndjS9JmFBmpTsOms4hdKNO_dAehUvgLCPrHhOOzIC1ojXGyRznkSpT7Sob4Lud4NE3YZ8Q32LWa_vEgNTtJG9DR719FHaxMjw/s1600/Anthony+P.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="267" data-original-width="450" id="_idgpn_6" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEidbHqimzEcb8dCdACF3xl-KisALX2kw_lTDSeTlCV6AVndjS9JmFBmpTsOms4hdKNO_dAehUvgLCPrHhOOzIC1ojXGyRznkSpT7Sob4Lud4NE3YZ8Q32LWa_vEgNTtJG9DR719FHaxMjw/s1600/Anthony+P.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span face="">Anthony Perkins in <i>Psycho </i>(1960)</span></td></tr>
</tbody></table>
<span face=""><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">Norman appears to be a friendly but anxious young man with a "mother problem." Yes, like Uncle Charlie, Alex Sebastian and
Bruno Antony, Norman Bates is another of Hitchcock’s mama's boys. We imagine
Norman’s mother was like Mme. Sebastian, a domineering shrew, rather than the indulgent
woman who raised Uncle Charlie. But we’ll never know because most of what we'll know of
her we learn from Norman, and Norman, we’ll discover, inhabits a profoundly distorted
reality. Hitchcock once more cast against type when he chose Anthony Perkins to
play Norman Bates, another<span style="mso-spacerun: yes;"> </span>“smiling
psychopath.” Perkins, like Walker, was usually associated with male ingenue roles
and had received an Oscar nomination for his portrayal of a young Civil War-era
Quaker in <i>Friendly Persuasion </i>(1957).</span></span></div>
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<span face=""><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">Norman moves to the center of <i>Psycho</i> once Marion meets her demise,
but it’s unclear exactly what his role is. The viewer will wonder, “What’s
going on here?” We know there’s a killer on the loose but not much more. Which is
Hitchcock’s intent. He is “directing the viewers” in one direction so he can deliver
another knock-out punch at the climax. Not until the closing minutes of <i>Psycho</i>
do we realize who/what Norman Bates actually is. As brilliantly conceived and
directed as <i>Psycho</i> is, Anthony Perkins’s performance is one of the film’s
great strengths. He must unpeel Norman’s fractured personality layer by layer,
until the end of the picture. So well does he do this that, as critic Robin
Wood observed, “…the saddest casualty of Norman Bates’s murder spree was
Perkins’s career.” Of course, it is because of Norman, a character he revisited
in two <i>Psycho</i> sequels, that Anthony Perkins has his place in film history – and as
one of Hitchcock’s most magnificent villains. </span></span><br />
<br />
<div style="text-align: center;">
<span face=""><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">~ </span></span></div>
</div>
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<span face=""><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">Francois Truffaut was “convinced that Hitchcock was not satisfied
with any of the films he made after <i>Psycho.</i>” Maybe. It’s true <i>Psycho</i>
was an impossibly hard act to follow. However, the master still had hopes of
“topping” himself. Did he? His next film would debut at Cannes, be nominated
for an Academy Award, thrill audiences around the world <i>and </i>be
critically acclaimed. It was, like <i>Psycho</i>, a blockbuster. The villain in
Hitchcock’s 49<sup>th</sup> film would be of another breed. Literally. <i>The
Birds </i>(1963), based on a story by Daphne du Maurier, tells of widespread attacks
on humans by different species of wild birds. It was the story’s concept that
attracted Hitchcock who felt that with the proper execution it could rival <i>Psycho</i>.</span></span></div>
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<span face=""><br /></span></div>
<div class="MsoNormal">
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhxqAXieVl3aGUb21e2sXM75tMtedK8TIWpOqhOt99rUaHw2HpYXdb6ZstH4xmT0UN6XdTKLKQ1RbbmwU-ZNAuU1ED2-NqUz3e0lLheQpiVO4-0_eu2ROuJHV8JwmnBpnchj-3_sZz67iU/s1600/Birds+again.jpg" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="253" data-original-width="450" id="_idgpn_7" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhxqAXieVl3aGUb21e2sXM75tMtedK8TIWpOqhOt99rUaHw2HpYXdb6ZstH4xmT0UN6XdTKLKQ1RbbmwU-ZNAuU1ED2-NqUz3e0lLheQpiVO4-0_eu2ROuJHV8JwmnBpnchj-3_sZz67iU/s1600/Birds+again.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i><span face="">The Birds </span></i><span face="">(1963)</span><i><span face=""></span></i></td></tr>
</tbody></table>
<span face=""><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">He had wanted Cary Grant and Grace Kelly for the lead roles, an
attorney and a smug socialite. But Grant was winding down his career and Kelly
was now Princess Grace, so he instead cast Rod Taylor and Tippi Hedren. The
film begins as the two meet cute in San Francisco. She will go on to follow him to his mother’s home in Bodega Bay. As Hedren’s character,
Melanie, docks her rented motorboat there, the first bird attack occurs - and
she is the victim. Soon squadrons of the creatures are flying into the area and none of them are friendly.</span></span></div>
<div class="MsoNormal">
<span face=""><br /></span></div>
<div class="MsoNormal">
<div style="text-align: left;">
</div>
<span face=""><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">The special effects employed in <i>The Birds</i>, are singular and
remarkable for their time. Hitchcock would tell Peter Bogdanovich that it was
all done with set-ups of highly trained birds and meticulous editing. He told
Bogdanovich there were “371 trick shots” in <i>The Birds</i> and that it was the most technically difficult film he ever made. Remember, the film was
made years before CGI and involved 3,200 live birds. Ub Iwerks of Disney fame would
receive a much-deserved Oscar nomination for special effects.</span></span></div>
<div class="MsoNormal">
<span face=""><br /></span></div>
<div class="MsoNormal">
<span face=""><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">The apocalyptic scenes of bird attacks are so spectacular and jolting,
and the constant gathering of more and more birds arouses such intense dread that
the film’s underlying storyline of budding romance and family relations loses its force. The horrific threat of massive, endless bird attacks becomes the story,
and the reason for these attacks along with the future of a romance are reduced
to MacGuffin status. </span></span></div>
<div class="MsoNormal">
<span face=""><br /></span>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjra3gGKtzik78raUKbBCSNKUYjZJwM32Md4nTmYTp8EZ_qRqyJsoGVLy80q9UihuWFDud6I1C5w9TBvY4ibFjjo38RacjFuQSCZ6S4gR3YaChUD4WsMF6Vy0VFvVSJL2xME9mBtla7qgo/s1600/Birds.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="305" data-original-width="550" id="_idgpn_8" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjra3gGKtzik78raUKbBCSNKUYjZJwM32Md4nTmYTp8EZ_qRqyJsoGVLy80q9UihuWFDud6I1C5w9TBvY4ibFjjo38RacjFuQSCZ6S4gR3YaChUD4WsMF6Vy0VFvVSJL2xME9mBtla7qgo/s1600/Birds.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i><span face="">The Birds</span></i><span face=""> (1963)</span><i><span face=""></span></i></td></tr>
</tbody></table>
<div class="separator" style="clear: both; text-align: center;">
</div>
<span face=""></span></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span face=""><br /></span></div>
<div class="MsoNormal">
<span face=""><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">Six very successful films, each boasting a splendidly conceived
and portrayed villain - or villains. We can’t disagree with Hitchcock’s “cardinal
rule” or Truffaut’s assertion that, “The better the villain, the better the
picture…an excellent formula!”</span></span><br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhRqOWrIxhZLsfQKqsYc6r8jRgIpmPp5aJcZkIlWUGJAx1WoIaINOUfJ2nO1Fj4oYYdZEaKGkqZhWHtsmkW5o9qfb4TnhmNL-lWLJPqqsYNs1Pelx8bKdd-EWMXRpQm1EDE7VTATP7BGPo/s1600/Alfred+Hitchcock+montage.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="478" data-original-width="600" id="_idgpn_9" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhRqOWrIxhZLsfQKqsYc6r8jRgIpmPp5aJcZkIlWUGJAx1WoIaINOUfJ2nO1Fj4oYYdZEaKGkqZhWHtsmkW5o9qfb4TnhmNL-lWLJPqqsYNs1Pelx8bKdd-EWMXRpQm1EDE7VTATP7BGPo/s1600/Alfred+Hitchcock+montage.JPG" /></a></div>
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<br />
<span face=""><b><u>References</u></b>: </span><br />
<span face=""><i>Hitchcock/Truffaut</i> by Francois Truffaut (Simon & Schuster, rev. 1983)</span><br />
<span face=""><i>Hitchcock/Truffaut</i> documentary, directed by Kent Jones (2015)</span><br />
<span face=""><i>Hitchcock's Films Revisited</i> by Robin Wood (Columbia Univ. Press, rev. 2002)</span><br />
<span face="">1963 Peter Bogdanovich interview with Alfred Hitchcock via <i>The Plot Thickens</i> podcast (2020)</span><br />
<span face=""><span face="">"Film Studies: Robert Walker, a gre</span>at lost star" by David Thomson (The Independent, Sunday, August 15, 1999)</span><input id="idg-io-safe-browsing-enabled" oninit="true" type="hidden" />The Lady Evehttp://www.blogger.com/profile/11963115499930520653noreply@blogger.com22